







MOTHER GOOSE 
DRAMATIZED 





Br 

SOMEPLE ^j • A ■ 


O, 



0* 


MARCH BROTHERS, Publishers 

208, 210, 212 Wright Ave., Lebanon, Ohio 


"PHbts-o 

.he l* 


COPYRIGHT, 1923, by 
MARCH BROTHERS 


©C1A699704 


FEB 12 1523 

*W & f 




TABLE OF CONTENTS 


PAGE 

Old Mother Goose.5 

Three-Score Miles and Ten.25 

Cock Robin.32 

The Old Woman and Her Pig .40 

Curly Locks .48 

Three Little Kittens.53 

Over the Hills and Far Away.57 

Bye, Baby Bunting.68 

The Ginger-Bread Man.72 

I Had a Little Nut Tree.84 

Twinkle-Twinkle .101 

Nanny Btticoat .‘ . 106 


3 















TCpULL descriptions of all costumes and make-ups are given 
A herein. If, however, our customers prefer, we can supply 
Masks and Costumes representing the various Mother Goose 
characters at reasonable prices. 

Masks to represent any of the Animals or Birds will be 
supplied for 30 cents each, or $3.00 per dozen, postpaid. 

Costumes for any of the characters mentioned can be sup¬ 
plied. Order children’s costumes by age—8, 10 or 12 years, 
price $2.50 each, postpaid. Order adults’ costumes by size— 
34, 36, 38 or 42, price $3.00 each, postpaid. Since we do not 
carry all of these in stock, many will have to be made-to-order. 
Kindly allow from ten days to two weeks for the goods to 
reach you. 

Materials suitable for making costumes, such as Crepe and 
Tissue Papers, Gold and Silver Papers, Tinsel and other orna¬ 
ments, are listed in our catalog and will be sent promptly 
upon receipt of the order. 

March Brothers, Publishers, 

208, 210, 212 Wright Avenue, Lebanon, Ohio 


4 


Old Mother Goose 

A unique little play in one scene for about thirty 
children. May be given out-of-doors if liked. The 
time is a Saturday morning in May. 


CHARACTERS 


Girls* 


Old Mother Goose, the tallest girl, 
Jill, 

Margery Daw, 

Jenny, 

Betty Blue, 

Mary, 

Elsie Marley, taller than the rest, 
Daffydowndilly, 

Little Miss, Pretty Miss, and 
Pussy Cat. 


Boys* 


The Crooked Man, 

Jack, as tall as Jill, 

Peter Piper, 

Simple Simon, 

Johnny Green, a little boy, 

Johnny Stout, a tall, fat boy, 

Tom Tinker, 

Jack Horner, a plump little boy, 

Baa, Baa, Black Sheep, 

Humpty Dumpty, a boy with a round face, and 
All the king’s Horses and all the king’s 
Men, a group of about six boys. 


Boys or girls—Three Blind Mice, all of a size. 

5 




6 


MOTHER GOOSE DRAMATIZED 


COSTUMES 

Old Mother Goose has on a pointed hat and an 
outlandish dress, as pictures show her. She has a 
broomstick mounted with a large, white gander’s 
head, and white, outstretched wings. 

Jill, Margery Daw, Jenny, and Mary have on pina¬ 
fores. Jill is barefooted and has a sunbonnet hang¬ 
ing down her back. Margery Daw has a cat’s cradle 
on her fingers. Jenny has a basket half full of chips. 
Mary has a slate under one arm and a wooly, white 
lamb under the other—or after her she draws by a 
string a lamb on wheels. 

Betty Blue is in a blue, holiday dress and has on 
only one slipper. Mostly she hops about on her one 
foot in the slipper. 

Elsie Marley is veiy much dressed up and pow¬ 
dered and frizzed and she has a vanity case, which 
she uses every once in a while. 

Daffy downdilly has on a short, green dress (made 
of crepe paper or cheesecloth), scalloped around the 
bottom of the sleeves and skirt, over a longer, yellow 
petticoat. Her stockings are yellow and she wears 
a little green cap shaped like a lily upsidedown. 

Little Miss, Pretty Miss has curls and wears a 
pretty dress, slippers, and a flower-wreathed, shade 
hat. She has a tiny bell in her pocket. 

Pussy Cat has on a gray suit made like a sleeping 
garment with a hood attached at the neck, ears stand¬ 
ing up on top. A tail, a piece of rope, wired, padded, 
and wound with the gray material, is tacked in place 
behind. Black lines are drawn from her mouth for 
whiskers. She walks on her “hind legs.” 

The Crooked Man has on a violet shirt, a spotted 
tie, a red vest, blue, knee breeches, and striped, green 
and white stockings (or any other odd combination 
of bright colors). Everything he has on is pulled 
askew, his tie is almost under one ear, his vest but- 


MOTHER GOOSE DRAMATIZED 


7 


tons are awry, his stockings are twisted, etc. The 
crown of his felt hat is crazily crushed over to one 
side. He holds his neck, body, and arms as crookedly 
as he can and he walks crookedly. He has a battered 
sixpence (a round of cardboard covered with silver 
paper). 

Jack, Peter Piper, Simple Simon, Johnny Green, 
and Johnny Stout are barefooted and have on over¬ 
alls and big straw hats. Simple Simon’s overalls 
and hat are very old and ragged. Peter Piper has 
a peck measure of green peppers. They may be made 
of green paper. 

Tom Tinker and Jack Horner have on ruffled, white 
shirts under little Eton jackets and have jaunty lit¬ 
tle caps on their heads. Tom Tinker has a wooly 
dog either under his arm or. on wheels by a string. 
Jack Horner has a fat, saucer pie with raisins in it. 

Baa, Baa, Black Sheep is in a black sleeping gar¬ 
ment with attached hood, ears standing out at the 
sides. He has three bags of wool over his shoulder. 
He walks on his “hind legs.” 

Humpty Dumpty is in a white, baglike suit of 
tissue paper, gathered up around his neck and knees 
and inflated to make him look like an egg. On his 
head is a scarlet skullcap, much too small for him. 

All the king’s Horses and all the king’s Men are 
boys in gaudy, gilt-trimmed, scarlet uniforms, and 
caps turned up with a feather; astride sticks mounted 
with horses’ heads. The heads may be made of card¬ 
board, colored, and nailed to the ends of the sticks. 
Reins are fastened about their necks. The boys have 
swords made of cardboard and covered with silver 
paper. 

Three Blind Mice are in gray suits similar to Pussy 
Cat’s. They have ears and chopped-off tails. They 
keep their eyes almost shut and keep hold of one 
another’s hands, the two on the outside extending 
their hands to feel their way. 


8 


MOTHER GOOSE DRAMATIZED 


SETTING 

The stage has two entrances, one in the nearer, 
left corner, and the other to the right. The left has 
steps before it and it is the door into Old Mother 
Goose’s house. Flowering vines are twined about 
it. Along the rest of the left wall of the stage a 
high wall or fence extends. If possible, the stage 
is converted into a hill sloping up to the right en¬ 
trance, in which there is a crooked stile. This hill 
h Pippin Hill. (If the play is given in the open, 
the hill may be a natural slope. In this case, it leads 
up to the back of the stage instead of to the right.) 
The ground is littered with sticks, stones, and leaves, 
and clumps of bushes and flowers line the path up 
the hill or bank the back of the stage. At the top of 
Pippin Hill is a rustic well. 

SCENE 

[Jenny is picking up chips about the steps and 
putting them in her basket. Jack Horner sits in the 
corner made by the wall and the steps, pulling raisins 
out of his pie and eating them. Three Blind Mice 
sit in a row on the steps. Humpty Dumpty sits on 
the wall, dangling his legs. Pussy Cat is in the well, 
only her ears showing over the top. She meows occar 
cionally. Johnny Green is leaning over the side of 
the well, watching her. As the curtains are drawn 
apart, Elsie Marley saunters out of the house, yawn¬ 
ing and rubbing her eyes. Then she powders her 
nose. All the others, except Old Mother Goose, Little 
Miss, Pretty Miss, Daffydowndilly, The Crooked Man, 
Johnny Stout, and All the king’s Horses and all the 
king’s Men, are playing together at the foot of Pippin 
Hill.] 

Peter Piper [pointing his finger at Elsie Marley] : 
Ten o’clock, Elsie Marley, and we’ve got our Satur¬ 
day-morning tasks all done, and you’ve only just 
get up! 


MOTHER GOOSE DRAMATIZED 


9 


Humpty Dumpty: 

Elsie Marley has grown so fine, 

She won’t get up to feed the swine; 

She lies in bed till half past nine— 

Ay! truly she doth take her time! 

Elsie Marley [ disdainfully ] : Don’t mention 
swine, Humpty Dumpty! Anyway, I am fifteen now 
and you are all only little children. 

[Meanwhile, Daffydowndilly has come dancing over 
the stile and down the hill, followed more slowly by 
The Crooked Man.] 

Tom Tinker [os Daffydowndilly approaches them] : 

Daffydowndilly 

Has come up to town 
In a yellow petticoat 
And a green gown! 

Elsie Marley [circling around Daffydowndilly to 
look at her gown] : How pretty your gown is, Daffy¬ 
downdilly, and so fashionable, too! The very latest 
thing this spring is green sepals and red or yellow 
petals. Which modiste did you go to? 

Daffydowndilly: Madame -. But what ails 

Betty Blue [pointing to her] ? 

Mary: 

Little Betty Blue 
Lost her holiday shoe! 

Baa, Baa, Black Sheep: 

What can little Betty do? 

Daffydowndilly : 

Give her another 
To match the other, 

And then she may walk in two! 

Mary: But where can we get another to match 
the other to give her, Daffydowndilly? 

Daffydowndilly : Why,—why,— Where can we ? 
[Spying Mary’s slate.] What are you doing with 
your slate on a Saturday morning, Mary? 



10 


MOTHER GOOSE DRAMATIZED 


Betty Blue: 

Mary has a little lamb, 

It's fleece is white as snow; 

And everywhere that Mary goes, 

The lamb is sure to go. 

He followed her to school one day; 

That was against the rule; 

It made the children laugh and play 
To see a lamb at school. 

And so the teacher turned him out, 

But still he lingered near, 

And waited patiently about 
Till Mary did appear. 

Then he ran to her, and laid 
His head upon her arm, 

As if he said, “I’m not afraid— 

You’ll keep me from all harm.” 

“What makes the lamb love Mary so ?” 

The eager children cry. 

“Oh, Mary loves the lamb, you know.” 

The teacher did reply. 

And you each gentle animal 
In confidence may bind, 

And make them follow at your will, 

If you are only kind. 

Mary [patting her lamb] : That was Friday, and 
while the children laughed and played I could not 
work my sums for Monday, so I brought my slate 
home and have been doing them this morning while 
Peter Piper picked his peck of pickled peppers. 

The Crooked Man [approaching them, holding up 
his sixpence] : See what I found against the crooked 
stile up on Pippin Hill! 

Margery Daw: 

There was a crooked man, and he went a crooked mile, 
He found a crooked sixpence against a crooked stile! 


MOTHER GOOSE DRAMATIZED 


11 


Baa, Baa, Black Sheep [coming forward, point¬ 
ing to Simple Simon] : 

Simple Simon met a pieman 
Going to the fair; 

Said Simple Simon to the pieman, 

“Let me taste your ware.” 

Said the pieman to Simple Simon, 

“Show me first your penny;” 

Said Simple Simon to the pieman, 

“Indeed I have not any.” 

Mister Wryman, give Simple Simon 
Your sixpenny to buy, 

When Simple S'imon meets the pieman 
Next time, a whole, big pie! 

The Crooked Man: Nay, nay, Baa, Baa, Black 
Sheep! 

Let Simple Simon go to look 
If cents grow on a thicket; 

And if he finds one on a branch, 

Let Simple Simon pick it! 

[Simple Simon goes to look for a cent and returns 
to the group a while later, shaking his head. The 
Crooked Man tosses up his sixpence.] 

The first to name 
A merry game 

Shall have this bent sixpenny! 

Our tasks are done, 

We’ve time for fun— 

Humpty Dumpty [interrupting and pointing to 
Jenny ]: 

Except for poky Jenny! 

Margery Daw : See-saw! 

[The Crooked Man starts to toss his sixpence to 
Margery Daw, who holds out her hands to catch it, 
and then instead he puts it in his pocket.] 

The Crooked Man: 

Tee-hee! I reckon I need my crooked sixpence myself 
To buy a crooked cat, which will catch a crooked 
mouse, 

And we’ll all live together in a little crooked house. 


12 


MOTHER GOOSE DRAMATIZED 


Margery Daw: See-saw, anyway! 

The Crooked Man: 

See-saw, Margery Daw! 

[He shakes his finger at Jenny.] 

Jenny shall have a new master; 

She shall have but a penny a day, 

Because she can’t work any faster! 

Ten o’clock of a Saturday morning in May and 
her basket only half full of chips to light Old Mother 
Goose’s fire! 

[He turns to Baa, Baa, Black Sheep.] 

Baa, baa, black sheep, 

Have you any wool? 

Baa, Baa, Black Sheep: 

Yes, marry, have I, 

Three bags full; 

One for my master, 

And one for my dame, 

But none for the little boy 
Who cries in the lane. 

[He indicates which bag is for each as he mentions 
him, shaking his head at the last two lines.] 

The Crooked Man : Well, then, Baa, Baa, Black 
Sheep, when you take your bag of wool to your mas¬ 
ter, just ask him politely if he wouldn’t like a little 
maid, who is not overly swift, to card it and dye it 
and weave it into a length of cashmere for his wife, 
your dame, and if he nods his head you shall show 
Jenny the way to her new master’s house Monday 
after school. 

Tom Tinker: Let’s see-saw! Baa, Baa, Black 
Sheep doesn’t have to set out for his master’s house 
till after dinner. 

Daffydowndilly [looking around] : Where’s a 
board ? 


MOTHER GOOSE DRAMATIZED 


13 


[All turn their heads this way and that, looking 
around .] 

Humpty Dumpty [looking behind him]: There’s 
a board over the wall. 

Mary: Who can climb over to get it? 

Betty Blue: Jack Horner, you climb over. 

[Jack Horner shakes his head, too intent on pulling 
a raisin out of his pie for words.] 



Peter Piper [pointing his finger at him] : 

Little Jack Horner 
Sits in a corner, 

Eating a Christmas pie; 

He puts in his thumb 
And he pulls out a plum. 

And says— 


14 


MOTHER GOOSE DRAMATIZED 


Jack Horner [putting the plum he has pulled out 
into his mouth] : 

What a good boy am I! 

Margery Daw: Oh, come on, Jack Horner! Put 
your Christmas pie on the steps. The Three Blind 
Mice won’t touch it while you are over the wall. It ’s 
too stale! Who wants a Christmas pie in May but 
Jack Horner? 

Jack Horner: I told you I am a good boy! I 
might tear my new jacket climbing over the wall. 

Jill: Peter Piper, you climb over the wall then 
for the see-saw board. This morning 

Peter Piper picked a peck of pickled peppers; 

A peck of pickled peppers Peter Piper picked! 

Jack: 

If Peter Piper picked a peck of pickled peppers, 

Where’s the peck of pickled peppers Peter Piper 
picked? 

Jill: There in his hand! If you could pick a 
peck of pickled peppers, Peter Piper, you surely can 
climb over the wall for the board. 

Peter Piper: Well, somebody hold my peck of 
pickled peppers for me, and somebody else give me 
a boost. 

[Tom Tinker runs to hold the peppers and Jack is 
about to give him a boost, when Old Mother Goose, 
bareheaded, puts her head out of the door, holds out 
a pail, and calls.] 

Old Mother Goose: Jack and Jill! 

Jack and Jill [Jack leaving Peter Piper and run¬ 
ning over to Jill] : Yes, Old Mother Goose! 

Old Mother Goose: 

Jack and Jill, 

Go up the hill 

To fetch a pail of water! 


MOTHER GOOSE DRAMATIZED 


15 


I’ve taken a notion 
This morning to wander 
High up in the air— 

Now don’t you meander! 

I’m anxious to be up 
And away, but first 
My gander must needs 
To quench his thirst. 

Jack and Jill [taking the pail]: All right, Old 
Mother Goose! 

[Old Mother Goose withdraws her head and Jack 
and Jill start up Pippin Hill, swinging the pail be¬ 
tween them.] 

The Others: Wait, Jack and Jill! We’ll come, 
too! 

[All but Humpty Dumpty, Jenny, and Jack Horner 
set out after Jack and Jill, Three Blind Mice last , 
and soon catch up with them.] 

Humpty Dumpty: 

Old Mother Goose, when 
She wishes to wander, 

Will rise through the air 
On a very fine gander. 

That’s why she wants Jack and Jill to fetch a 
pail of water, I suppose. He must be watered before 
she sets out. As if he couldn’t drink at a cloud. Old 
Mother Goose spoils that gander! Ho, hum, but I’m 
sleepy! 

[He nods and yawns and stretches till he is fast 
asleep. Meanwhile, Johnny Stout has jumped over 
the stile, followed more sedately by Little Miss, Pretty 
Miss. Pussy Cat meows louder. Johnny Stout stops 
to listen, then he runs over to the well and pulls 
Pussy Cat out. Little Miss, Pretty Miss gets out her 
handkerchief and sets about wiping Pussy Cat off. 
Pussy Cat purrs. By this time the others have reached 
the top of the hill. Little Miss, Pretty Miss drops 
Jack a pretty curtsy.] 


16 


MOTHER GOOSE DRAMATIZED 


Jack [bowing to her ] : 

As I was going up Pippin Hill,- 
Pippin Hill was dirty,— 

There I met a pretty miss, 

And she dropped me a curtsy. 

Jill: Whose pussy cat have you there, Little Miss, 
Pretty Miss, and what has happened to her? 

Little Miss, Pretty Miss [dropping Jill a curtsy 
and pulling her bell out of her pocket and ringing 
it] : Little Johnny Green’s pussy cat! 

Ding dong bell, 

Puss was in the well I 

All: 

Who put her in? 

Little Miss, Pretty Miss [pointing to Johnny 
Green ] : 

Little Johnny Green! 

All: 

Who pulled her out? 

Little Miss, Pretty Miss [pointing to Johnny 
Stout] : 

Great Johnny Stout! 

All [pointing their fingers at Johnny Green, who 
slinlcs away around the wall, hanging his head] : 

What a naughty boy was that 

To drown poor pussy cat, 

Who never did him any harm, 

But killed the mice in his father’s barn! 

Elsie Marley: And what a kind boy is Johnny 
Stout! 

[Johnny Stout stands pigeon-toed and embarrassed 
at her praise. Little Miss, Pretty Miss gives a final 
pat to Pussy Cat f s fur.] 

Little Miss, Pretty Miss : There. Pussy Cat, you 
are all nice and dry again now! 


MOTHER GOOSE DRAMATIZED 


17 


Pussy Cat [curtsying to her]: 

Little miss, pretty miss, 

Blessings light upon youl 

If I had half-a-crown a day, 

I’d spend it all upon you. 

Little Miss, Pretty Miss: Oh, but it was great 
Johnny Stout that pulled you out of the well, Pussy 
Cat, I only— 

[Three Blind Mice have come up with the others 
by now and have halted , sniffling warily. Pussy Cat 
sniffs, spies Three Blind Mice, and darts for them.] 

Three Blind Mice: Squeak! Squeak! 

[They turn and flee, pell-mell, down the hill, Pussy 
Cat at their heels. All disappear into the house.] 

All with Jack and Jill [turning to look after 
them] : 

Three blind mice, see how they run! 

They all ran after the farmer’s wife, 

Who cut off their tails with a carving knife, 

Did you ever see such fools in your life? 

Three blind mice. 

Johnny Stout: Oh, but the farmer’s wife was 
afraid of them, and they are afraid of Pussy Cat. 
* Elsie Marley: 

Mice frighten women, 

And cats scare mice, 

And dogs make cats 
Disappear in a trice! 

Old Mother Goose [chasing Pussy Cat out of the 
house with her gander] : Scat! Scat, there! Your 
paws are all wet! Shoo! You’re tracking my nice, 
clean floor all up and I haven’t time to scrub it again 
this morning! Shoo! 

[Pussy Cat settles down on the steps and proceeds 
to wash her face. Old Mother Goose raises her voice 
to call.] 

Jack and Jill, 

Come down that hill 
To fetch that pail of water! 


18 


MOTHER GOOSE DRAMATIZED 


[She goes in. Jack and Jill, startled, turn and 
run down the hill, forgetting to get the water. Half¬ 
way down, Jack stubs his toe on a stone and falls 
down, bumping his head, Jill tumbling down after 
him. The pail goes rolling down the hill. All but 
Johnny Green run after Jack and Jill. Johnny Green 
goes to sit on the stile, elbows on knees, chin in hands, 
watching the others.] 



Jack fell down! 


And broke his crown! 

And Jill came tumbling after! 

Old Mother Goose [putting her head out again] : 
Jack and Jill! 

Jack and Jill: Yes, Old Mother Goose! We’re 
coming! 

[Jack gets up, rubbing his head, and runs limping 
down the hill, Jill picking herself up and following 
him. Old Mother Goose comes out on the steps as 
Jack and Jill reach them. She is smoothing her 
gander’s feathers with a brush.] 


MOTHER GOOSE DRAMATIZED 


19 


Old Mother Goose: What’s all this? What’s all 
this? 

Jack Horner: 

Jack and Jill 
Went up the hill 
To fetch a pail of water. 

Jill: 

Jack fell down 
And broke his crown! 

Jack: 

And Jill came tumbling after! 

Jill: 

Then up Jack got 
And home did trot 
As fast as he could caper! 

Old Mother Goose: Dear, dear! Poor Jacky! 
Poor Jacky! Go into the kitchen. Old Mother Hub¬ 
bard ’s there. She’s come over to stay with all you 
children while I rise through the air on my very fine 
gander for a spell. I’m too busy brushing him up 
for the trip. Old Mother Hubbard will doctor you 
up and put you to bed, Jack. 

[Jack and Jill go into the house. The rest, except 
Simple Simon and The Crooked Man arrive at the 
steps. Simple Simon stopped along the way to pick 
something off a hush. He quickly dropped it, put¬ 
ting his fingers into his mouth and whistling with 
pain.] 

Peter Piper: Where’s Jack, Old Mother Goose? 

Old Mother Goose: 

He went to bed 
To mend his head 

In vinegar and brown paper. 

[She is about to go into the house when Simple 
Simon reaches the steps, sucking his fingers and whist¬ 
ling and dancing.] 

What’s the matter with you, Simple Simon? 


20 


MOTHER GOOSE DRAMATIZED 


The Crooked Man : 

Simple Simon went to look 
If plums grew on a thistle; 

He pricked his fingers very much, 

Which made poor Simon whistle! 

Old Mother Goose: Dear, dear, Simple Simon, 
will you never learn any sense? Well, well, stop 
dancing and whistling so. Go into the kitchen and 
Old Mother Hubbard will tie up your finger for you. 

[Simple Simon runs into the house.] 

Jill [putting her head out of the door] : Old 
Mother Goose! Old Mother Goose! 

Old Mother Goose : What is it, Jill? What is it? 

Jill: 

Old Mother Hubbard 

Went to the cupboard, 

To get her poor dog a bone; 

But when she came there. 

The cupboard was bare, 

And so the poor dog had none! 

Old Mother Goose [shaking a stern finger at Tom 
Tinker] : Tom Tinker, did you give that drumstick 
out of the cupboard to your dog? I put it there 
apurpose for Old Mother Hubbard to give her dog 
when she came over to mind the lot of you till I get 
back. 

Tom Tinker: Yes’m. 

Old Mother Goose : Then, Tom Tinker, you march 
yourself right off and find out where your dog has 
buried it and you bring it straight back for Old 
Mother Hubbard to give her dog. Don’t you know 
Old Mother Hubbard’s dog is company? 

[Old Mother Goose goes into the house, and Tom 
Tinker starts off to find the hone. As he walks along 
the steps, he spies Pussy Cat and stops.] 

Tom Tinker [in Pussy Cat’s face]: 

Bow, wow, wow! 


MOTHER GOOSE DRAMATIZED 


21 


Pussy Cat [shrinking hack, humping up her hack, 
and spreading her fingers like claws ] : 

Whose dog art thou? 

Tom Tinker: 

Little Tom Tinker’s dog— 

Bow, wow, wow! 

[Tom Tinker thrusts his dog into Pussy Cat’s face. 
Pussy Cat jumps up, scratches at the dog, spits, and 
then flees down the steps and up Pippin Hill. Tom 
Tinker runs after her, harking. When nearly at the 
top of the hill, Pussy Cat sees Johnny Green on the 
stile and halts, looking fearfully up at him a<nd then 
hack at Tom Tinker. Old Mother Goose puts her 
head out of the door.] 

Old Mother Goose: What’s all this rumpus? 
Tom Tinker, you call your dog off Pussy Cat this 
minute! Why aren’t you looking for that drum¬ 
stick as I told you? Old Mother Hubbard’s talking 
about going to the baker’s to buy her poor dog some 
bread! 

Tom Tinker: Yes’m. Yup! Yup! 

[He comes hack down the hill, Pussy Cat follow¬ 
ing warily. Old Mother Goose withdraws her head. 
At the harking Humpty Dumpty woke up and has 
sat yawning and ruhhing his eyes till now he tumbles 
off the wall, tearing his “eggshell” in his fall. He 
remains sprawled on the ground. All gather around 
him, even Jenny and Jack Horner.] 

All: Old Mother Goose! Old Mother Goose! 
Come quick! Oh, come quick! 

Old Mother Goose [running out of the house, 
polishing the gander’s reins with a cloth] : What¬ 
ever is the matter now? I’ll never in this world get 
myself and my very fine gander ready to rise through 
the air before night! 


22 


MOTHER GOOSE DRAMATIZED 


Jenny: 

Humpty Dumpty sat on a wall, 

Huinpty Dumpty had a great fall! 

[All the king’s Horses and all the king’s Men leap 
over the stile, knocking Johnny Green off, and come 
camtering down the hill.] 

Old Mother Goose [ pointing to them ] : 

Ask all the king’s Horses and all the king’s Men 
If they can put Humpty Dumpty together again! 

I have my hat to get out and brush yet! 

[She goes into the house. The children beckon 
to All the king’s Horses and all the king’s Men.] 

All : 

Humpty Dumpty sat on a wall, 

Humpty Dumpty had a great fall; 

All ye king’s Horses, and all ye king’s Men, 

Can’t ye put Humpty Dumpty together again? 

[All the king’s Men ride up to Humpty Dumpty, 
scattering the group about him with their swords .] 

All the king’s Men [pulling on their reins] : 
Whoa! Whoa! 

[All the king’s Horses whoa and all the king’s 
Men attempt to stand Humpty Dumpty on his feet, 
only tearing off pieces of “shell” with their swords. 
Finally they stop trying, shaking their heads.] 

Though we’re king’s Horses, and though we’re king’s 
Men, 

We can’t put Humpty Dumpty together again! 

[They “cluck” to their horses and gallop back up 
the hill, leap over the stile, and are gone.] 

All : Old Mother Goose! Old Mother Goose! 

Old Mother Goose [coming out, putting her hat 
on] : What is it now? 


MOTHER GOOSE DRAMATIZED 


23 


Jack Horner: 

Humpty Dumpty sat on a wall, 

Iiumpty D.umpty had a great fall; 

All the king’s Horses, and all the king’s Men 

Couldn’t put Humpty Dumpty together again! 

[Mary bursts into tears.] 

Old Mother Goose: Well, Humpty Dumpty, let 
this be a lesson to you to keep down off the wall! 
You’re forever perched up there ! Stop crying, Mary! 
Just because All the king’s Horses and all the king’s 
Men couldn’t put Humpty Dumpty together again 
doesn’t say nobody can! Run into the kitchen, 
Johnny Stout, and get Old Mother Hubbard to make 
him a mustard plaster or a poultice or something. 

[She picks up the pail. Johnny Stout goes into 
the house.] 

Since Jack is in bed mending his head and Jill is 
reading “Jack and the Beanstalk” to him, I suppose 
I shall have to go up Pippin Hill myself to fetch a 
pail of water for my very fine gander! 

Jill [in the house] : Old Mother Goose! Old 
Mother Goose! 

Old Mother Goose [dropping the pail and hastily 
mounting her gander] : I do declare! What can 
have happened now? If I don’t be off, I’ll never 
get! Old Mother Hubbard will be going home next! 

Jill [still in the house] : Old Mother Goose! Old 
Mother Goose! 

She went to the baker’s 
To buy him some bread; 

But when she came back, 

[Jill puts her head out of the door.] 

The poor dog was dead! 

[Old Mother Goose gallops off up the hill , “cluck¬ 
ing” to her gander and shaking the lines over his 


24 


MOTHER GOOSE DRAMATIZED 


head. She squawks all the way for him. As she 
flies over the stile, knocking Johnny Green off, she 
looks hack and ivaves and calls as she disappears.] 

Old Mother Goose: Mary, don’t let your lamb 
follow you to school while I’m gone! Betty Blue, 
don’t you lose your other holiday shoe! Johnny 
Green, don’t you put Pussy Cat in the well! Peter 
Piper— 

[All the children wave hack, Jack, his head in 
hrown paper, Jill, Simple Simon, his fingers in rags, 
and Johnny Stout, a mustard plaster in his hand, 
come outside the door to wave, the Three Blind Mice 
peeping and waving from behind them]. 

Curtain 


MOTHER GOOSE DRAMATIZED 


25 


Three-Score Miles and Ten 

A picturesque playlet in one scene, for about thir¬ 
teen children. 

CHARACTERS AND COSTUMES 
Michael, a little boy. 

Lottie, his sister. Both wear sleeping garments. 

The Ticket Man, a boy in a gold braid-trimmed 
cap and jacket. 

The Guide Man, a boy in a fantastic scarlet and 
black uniform and cap. 

The Native Man, a boy in bright-hued garments— 
like Bible pictures—and a tray of dates and figs 
swung around his neck. 

The Native Woman, a girl in native costume, a 
water jar on her head. 

The Native Children, six or seven boys and girls 
in native costume. 

SETTING 

Seagulls, sails, camels, and palms may be cut out 
of paper and pinned or pasted on wall at back of 
stage to give a touch of 4 ‘local color” to the back¬ 
ground. 

There are two entrances, one to the right, one to 
the left. Set up in the left entrance is the ticket 
window. It is high enough to be just above Michael’s 
and Lottie's heads so that they must stand on tiptoe 
to talk with Ticket Man. 

To be especially effective, the stage is brightly 
lighted at first, then, as the action progresses, gradu¬ 
ally dimmed, till, at the end, the only light is the 
candle in the right entrance. 


26 


MOTHER GOOSE DRAMATIZED 


SCENE 

[Michael and Lottie enter at right, hand in hand, 
and skip across stage to ticket window. They half 
sing their lines, as do the other characters, too, to 
the half-tune of “How many miles to Babylon.’*] 

Michael and Lottie [to Ticket Man back of his 
window] : 

How many miles to Babylon? 

Ticket Man: 

Th score miles and ten. 

Michael and Lottie: 

Can we get there by candle-light? 

Ticket Man: 

Yes, and back again. 

If your heels are nimble and light, 

You may get there by candle-light. 

Michael and Lottie: 

What is the fare to Babylon? 

Ticket Man: 

Three-score cents and ten. 

Michael and Lottie [shoving pennies through 
ticket window] : 

Have we enough to take us there? 

Ticket Man [counting pennies] : 

Yes, and back again. 

Enough for two berths and some to spare 
To spend for trinkets when you get there. 

[Pushes two pennies back.] 

Michael and Lottie: 

Who will show us to Babylon? 

Ticket Man: 

One of my good men. 


MOTHER GOOSE DRAMATIZED 


27 


Michael and Lottie: 

And will lie go with us all the way? 

Ticket Man: 

Yes, and back again. 

Since his heels are nimble and light, 

He may get there by candle-light. 

[Lifts a whistle to his lips and blows a shrill blast. 
Guide Mam, runs in around ticket window. Salutes 
Ticket Man.] 

Show these travelers to Babylon, 

There and back again; 

Point them out the wondrous sights. 

Three-score sights and ten. 

Pick your heels up nimble and light, 

They must return by candle-light. 

[Guide Man salutes again. Takes Michael and 
Lottie by the hand and off the three start. Their 
course takes them once around the stage. Their steps 
must be slow enough to last out the verses, but must 
have an appearance of hurry.] 

Guide Man: 

Come, my pretties, aboard the ship. 

Else it will be gone 
With nary a one of the three of us 
On deck for Babylon. 

See the sailors’ last-minute haste, 

We’ve nary a moment ourselves to waste! 

[Now their walk is a rolling from side to side, 
as if on board a ship.] 

Lottie [pointing] : 

Look at the seagulls! See the waves! 

And there’s a monster whale! 

Michael [pointing] : 

See, where the sky and billows meet, 

A silver speck of sail! 


Lottie: 

There, the ship has come within hail, 
Wave your handkerchief over the rail. 


28 


MOTHER GOOSE DRAMATIZED 


[Wave to one of the sails on the wall.] 

Michael [pointing ]: 

See Gibralter’s famous rook, 

And sunny Sicily! 

Lottie [pointing] : 

See the shores of Spartaland! 

See the red Red 'Sea! 

Michael [shading his eyes and peering ahead ] 
Guide Man, what is that far-off mark? 

Guide Man: 

The shore, I’ll be bound, where we disembark! 
Come, my pretties, we go ashore 
Here for Babylon. 

Now to bargain with camelmen, 

Else they will be gone. 

Up you go on the camel’s back, 

Clacketty, clacketty, clacketty, clack! 

[Their walk now is clumsy and high-stepping .] 

Michael [looking and pointing down] : 

See the glittering desert sand, 

It makes me blink my eyes! 

Lottie [pointing] : 

See how the palms and olives look 
Under oriental skies! 

Guide Man: 

Here you are in Babylontown! 

Michael and Lottie: 

Hooray! Hooray! Kneel down! Kneel down! 
[Kneel, for camels. Now their walk is natural. 
They look curiously all around.] 

Michael : 

See the walls of Babylon! 

See the minaret towers! 


Lottie : 

See the hanging gardens abloom 
With red and purple flowers! 


MOTHER GOOSE DRAMATIZED 


29 


Michael : 

There’s the temple some mighty king 
Built years and years ago! 

Lottie : 

There are books of brick and stone 
Of wonderful tales, I know! 

[Native Woman enters at right.] 

Michael and Lottie [when the Native Woman 
has come up with them] : 

May we have a drink from your jar? 

Native Woman: 

Three-score drinks and ten! 

Michael and Lottie [laughing] : 

But what if we empty your water jar? 

Native Woman: 

I can fill it up again, 

[After they have drunk from her jar, she goes on 
and out at left. Native Children run in at right and 
stop before them.] 

Lottie : 

How many girls in Babylon ? 

Native Girls: 

Three-score girls and ten. 

Michael : 

How many boys in Babylon? 

Native Boys: 

Three-score boys and ten. 

Native Children: • 

Three-score girls and three-score boys 
To make a lot of fun and noise. 

[Native Children execute a group dance in center 
of stage. Michael and Lottie watch them a moment , 
then leave Guide Man and run and join in the fun. 
When the dance is ended, Native Children run out 


I 


30 MOTHER GOOSE DRAMATIZED 

at left with a wave to Michael and Lottie . Native 
Man enters at right. Michael and Lottie rejoin Guide 
Man , and pause when Native Man comes up with 
them.] 

Michael and Lottie: 

How are you selling figs and dates, 

Mister Native Man? 

We would buy our mother some, 

And father, if we can. 

Native Man: 

Figs and dates are cheap today, 

Three-score cents and ten. 

[Michael and Lottie put their remaining pennies 
on his tray, and he gives each of them a handful of 
dates and figs.] 

Thanks, brave sir, and thanks, fair miss, 

Come and buy again. 

[Native Man goes on and out at left.] 

Guide Man: 

Come, my pretties, we must be on; 

Three-score miles and ten 

We’ve got to go before we see 
Our native land again. 

Our heels must nimble be and light, 

If we get there by candle-light. 

Michael and Lottie [suiting their steps to their 
words] : 

Clacketty, clacketty, clacketty, clack, 

On the camels again; 

Up-and-down, up-and-down, up-and-down, up, 

On the sea again. 

[Wave behind them.] 

Good-by, fair sights of Babylon 
Beneath the eastern sky, 

And camels, waves, and sailormen, 

Good-by, good-by, good-by. 

[Just as they reach ticket window again, a candle 
is lighted in the right entrance.] 


MOTHER GOOSE DRAMATIZED 


31 


Guide Man: 

There, my pretties, you’re safely back 
Back by candle-light; 

Now I must be off, good-night! 

[Skips out at left, saluting .] 



Michael and Lottie [waving after him]: 

Many thanks! Good-night! 

[Turn and skip, but on heavy feet , toward right 
entrance, hand in hand, yawning, heads nodding 
sleepily.] 

How many miles to Babylon? 

Three-score miles and ten. 

Some other night we’ll have to go 
To Babylon again. 

Now our heels are heavy as lead, 

Three-score puffs, and into bed! 

[Blow candle out and run out.] 


Curtain 


32 


MOTHER GOOSE DRAMATIZED 


Cock Robin 

A playlet in one scene. May be given out-of-doors 
if desired. For eight boys and seven girls. 


CHARACTERS 


The boys are: 

Cock Robin 
James Crow 
Ezra Sparrow 
Heber Owl 

The girls are: 

Lizzie Fly 
Delia Fish 
Betsy Beetle 
Becky Lark 


Yellow Hammer 
Levi Rook 
Thomas Kite 
Silas Bull 


Randy Linnet 
Esther Dove 
Sarah Thrush 


COSTUMES 

Costumes may characterize elaborately the various 
birds, insects, etc., or they may be simply fins, horns, 
tufts of feathers for tails, etc. 

SETTING 

The stage is leafy and green to represent an open 
place in the wood. Entrance at right. 

SCENE 

[Cock Robin lies under a bush somewhat back of 
center stage, an arrow seemingly piercing his heart. 
James Crow enters, flapping his wings. James Crow 
takes upon himself the mastership of ceremonies and 
acts in an important, drum-majorlike manner.] 


MOTHER GOOSE DRAMATIZED 


33 


James Crow: 

Caw! Caw! 

[Spying Cock Robin, he exclaims.] 

Who killed Cock Robin? 

[Ezra Sparrow enters chirping. He has his bow 
and a quiver of arrows is slung at his waist.] 



Ezra Sparrow: 

I, Ezra Sparrow, 

With my bow and arrow, 

I killed Cock Robin. 

[Crosses to left of stage, shooting an arrow from 
his bow.] 

And this is how 

As I perched on bough. 

James Crow: 

Caw! Caw! 

• Who saw him die? 

[Lizzie Fly enters, buzzing .] 

Lizzie Fly: 

I, Lizzie Fly, 

With my little eye. 

And I saw him die. 






34 


MOTHER GOOSE DRAMATIZED 


[Crosses to left, holding ringed thumb and fore¬ 
finger before one eye as she would a monocle.] 

With my good right eye, 

And I saw him die. 

James Crow: 

Caw! Caw! 

Who caught his blood? 

[Delia Fish enters, carrying a large sea shell.] 

Delia Fish: 

I, Delia Fish, 

With my little dish, 

And I caught his blood. 

[Crosses to left, holding shell carefully in front of 
her as if afraid of spilling it over.] 

In my pretty bowl 
From my deep-sea hole. 

James Crow: 

Caw! Caw! 

Who made his shroud? 

[Betsey Beetle enters, the shroud over her arm, 
thimble on her finger, threaded needle in hand.] 

Betsy Beetle : 

I, Betsy Beetle, 

With my little needle, 

And I made his shroud. 

[Crosses to left, taking a last stitch in shroud and 
biting off her thread.] 

From gussets to neckband 
I made it by hand. 

James Crow : 

Caw! Caw! 

Who made his coffin? 

[Yellow Hammer enters in cabinet maker’s cap 
and apron, carrying a hammer and a little wooden 
box.] 


MOTHER GOOSE DRAMATIZED 


35 


Yellow Hammer: 

Rap-a-tap-tap! 

I, Yellow Hammer, 

With sawdust and clamor, 

And I made his coffin. 

[Crosses to left, hammering on the box.] 

With here a nail and there a brad. 

The finest coffin to be had. 

James Crow: 

Caw! Caw! 

Who shall dig his grave? 

[Heber Owl enters, in overalls, with a spade.] 

Heber Owl: 

IIoo-oo ? Hoo-oo ? 

I, Heber Owl, 

With my spade and trow’l, 

And I’ll dig his grave. 

[Crosses to left, going through motions of spading.] 

With my trow’l and spade, 

And ’twill be well-made. 

James Crow: 

Caw! Caw! 

Who’ll be the parson? 

[Levi Rook enters, cawing like a rook, a book under 
his wing.] 

Levi Rook: 

I, Levi Rook, 

With my little book, 

And I’ll be the parson. 

[Crosses to left, opening his book and holding it 
up in one hand, his other uplifted.] 

JTames Crow: 

Caw! Caw! 

Who’ll be the clerk? 

[Becky Lark enters, a ledger under her wing, a 
quill in her fingers, trilling as much like a lark as 
possible. The lark, linnet, and thrush are song birds. 
Birdlike trills will do very well for their songs.] 


36 


MOTHER GOOSE DRAMATIZED 


Becky Lark: 

I, Becky Lark, 

If it’s not in the dark, 

And I’ll be the clerk. 

[Crosses to left, opening ledger and getting ready 
to make an entry with many old-time flourishes.] 

Could I see to write 
If ’twere in the night? 

James Crow: 

Caw! Caw! 

Who’ll carry him to the grave? 

[Thomas Kite enters, uttering harsh kite sounds .] 

Thomas Kite: 

I, Thomas Kite, 

If ’tis not in the night, 

And I’ll carry him to the grave. 

[Solemnly crosses to left, "bending over as if bear¬ 
ing Cock Bobin’s weight upon his back.] 

Too poor is my sight 
To walk forth at night. 

James Crow: 

Caw! Caw! 

Who’ll carry the link? 

[Bandy Linnet enters, carrying a slim vase in her 
hand, a candle in the vase. The top of the candle 
is even with the rim of the vase. She trills as much 
like a linnet as possible.] 

Randy Linnet: 

I, Bandy Linnet, 

I’ll fetch it in a minute, 

And I’ll carry the link. 

[Strikes a match and lights candle, then crosses to 
left, holding link high in front of her.] 

This is the link 
With fire in it. 

James Crow: 

Caw! Caw! 

Who’ll be the chief mourner? 


MOTHER GOOSE DRAMATIZED 


37 


[Esther Dove enters, uttering the plaintive notes 
of the dove.] 

Esther Dove: 

I, Esther Dove, 

I mourn for my love, 

And I’ll be the chief mourner. 

[Crosses to left, weeping and wiping her eyes on 
her handkerchief, and repeating her mournful cries.] 

James Crow: 

Caw! Caw! 

Who’ll sing a psalm? 

[Sarah Thrush enters, a hymn book under her wing , 
trilling as nearly as possible the song of the thrush.] 

Sarah Thrush: 

I, Sarah Thrush, 

As I sit in a bush, 

And I’ll sing a psalm. 

[Opens book and crosses to left, singing again.] 

James Crow: 

Caw! Caw! 

And who’ll toll the bell? 

[Silas Bull enters, a cowbell abound his neck with 
a rope to pull it by.] 

Silas Bull: 

Moo-oo-oo! 

I, Silas Bull, 

Because I can pull, 

And so, Cock Robin, farewell. 

[Crosses to left, pidling bell rope so that bell tolls.] 

James Crow [wiping his eyes on his handkerchief] : 
And so, Cock Robin, farewell. 

[All wipe their eyes on their handkerchiefs, each 
uttering his particular caw, chirp, etc., in concert. 
Cock Robin stirs, stretches, sits up, rubbing his eyes 


MOTHER GOOSE DRAMATIZED 


38 

and yawning. Seeing the gathering of his neigh¬ 
bors, he jumps up, the arrow falling to the ground 
unnoticed.] 

Cock Robin: 

What woke Cock Robin? 

His neighbors, gathered, 

Four-footed and feathered, 

To surprise Cock Robin! 

Cheer-o! Cheer-o! Cheer-oJ 

James Crow [open-mouthed, scratching his head ] : 
Caw! Caw! 

[Struggling to collect his wits, he hops away.] 



Cock Robin [invitingly]: 

Who’ll dance with Cock Robin 
A woodland quadrille? 
Cheer-o! Who will? 

Who’ll dance with Cock Robin? 



MOTHER GOOSE DRAMATIZED 


39 


Esther Dove [curtsying to Cock Robin] : 

I’ll dance with Cock Robin 
A woodland quadrille, 

(Dove notes). I will, 

And I’ll dance with Cock Robin. 

[James Crow, his manner recovered, leads alone a 
pretty, woodland dance, all tossing aside into the 
bushes whatever they carry. Since most of the char¬ 
acters are birds, it should be chiefly a hopping, flut¬ 
tering dance and with birdlike turnings of the head. 
Part of the time the dancers dance singly, part of 
the time in two’s. Now and again throughout the 
dance Lizzie Fly is buzzing, or Ezra Sparrow is chirp¬ 
ing, or Heber Owl is hooting, etc. Finally they hop 
in a ring around Cock Robin.] 

James Crow: 

Caw! Caw! 

Who loves Cock Robin? 

[A volley of caws, chirps, etc. Nodding vigor¬ 
ously.] 

We all love Cock Robin! 


Curtain 


40 


MOTHER GOOSE DRAMATIZED 


The Old Woman and 
Her Pig 

A clever play, in two scenes. For fourteen chil¬ 
dren. 


CHARACTERS 


( The Old Woman, 

IX 

Water, 


Rope, 

Cat, 

Cow. 


f Piggy, 
Boys^ Dog, 
l Ox, 


Butcher, 

Rat, 

Haymakers, two. 


COSTUMES 

The Old Woman is old-fashioned. In the first 
scene she wears an everyday dress, gingham apron, 
and dustcap. In the second she has on her best 
dress, shawl, mitts, and bonnet. 

Piggy has ears on top of his head and a curly 
tail behind. 

Cat, Cow, Dog, Ox, and Rat have the proper ears 
and tails. 

Stick carries a gad. 

Fire is dressed in red and carries a lighted candle. 

Water has a large pail. 

Butcher wears a white apron and brandishes a 
butcher knife. 

Rope carries a short length of stout rope with 
frayed end. 


MOTHER GOOSE DRAMATIZED 


41 


Haymakers have on overalls and big straw hats. 
Red handkerchiefs hang out of their pockets. They 
carry pitchforks. 


SCENE I 

[With broom and dustpan, the Old Woman is 
sweeping her kitchen. There are real ravelings and 
rolls of dust on the floor.] 

Old Woman [sneezing] : Mercy me, what a dust 
I’m raising! What’s that? [Stoops and picks up 
battered piece of money out of her little heap of dust. 
Rubs it on her apron.] I want to know! If it ain’t 
a crooked sixpence! Now how did that get there I 
wonder. Well, well, what shall I do with this little 
sixpence? I know! I will go to market and buy a 
little pig. [With quick movements sweeps heap of 
dust onto dustpan and goes out with it.] 

SCENE II 

[Across the right side of stage is a hedge with a 
stile over it. The hedge is made of plants or leafy 
branches of trees. The Old Woman enters at deft, 
shooing Piggy before her with her skirts. When they 
reach the stile, Piggy will not go over it.] 

Old Woman [coaxingly ]: 

Piggy, nice Piggy, 

Get over the stile, 

And then it’s only 
A half a mile, 

To a pail of middlings 
And sour milk, 

And a bed of straw 
As soft as silk. 

Piggy [running to one side along hedge] : Squee! 
Squee! 


42 


MOTHER GOOSE DRAMATIZED 


Old Woman [worriedly shooing him back] : 
Mercy me, if here 
Ain’t a plight! 

Piggy Piggy, 

I sha’n’t get home tonight! 



Piggy [running to other side along hedge] : Squee! 
Squee! 

[Old Woman, looking around helplessly, spies Dog, 
who has entered at left and come up near stile.] 

Old Woman: 

Dog, Dog, bite Pig; 

Piggy won’t get over the stile; 

And I sha’n’t get home tonight. 

Dog [shaking his head] : Bow-wow! Bow-wow! 

[Old Woman goes on a step or two to Stick, who 
has entered at left and come up behind Dog. Fire, 
Water, etc., enter in turn and come up behind Stick, 
Fire, etc., just as Old Woman turns from each and 
proceeds a step or two on her way across the stage to 
left. By the time they are all in, they should stretch 
in a line across stage from stile to left entrance, fac¬ 
ing stile. If the stage is not broad enough the line 






MOTHER GOOSE DRAMATIZED 


43 


may curve. Meanwhile, Piggy lies down before 
stile.] 

Old Woman [to Stick ]: 

Stick, Stick, beat Dog; 

Dog won’t bite Pig; 

Piggy won’t get over the stile; 

And I sha’n’t get home tonight. 

[Stick shakes her head and raps twice on the floor 
with her gad.] 

[To Fire] : 

Fire, Fire, burn Stick; 

Stick won’t beat Dog; 

Dog won’t bite Pig; 

Piggy won’t get over the stile; 

And I sha’n’t get home tonight. 

[Fire shakes her head and her candle.] 

[To Water] : 

Water, Water, quench Fire; 

Fire won’t burn Stick; 

Stick won’t beat Dog; 

Dog won’t bite Pig; 

Piggy won’t get over the stile; 

And I sha’h’t get home tonight. 

[Water shakes her head and her pail.] 

[To Ox] : 

Ox, Ox, drink Water; 

Water won’t quench Fire; 

Fire won’t burn Stick; 

Stick won’t beat Dog; 

Dog won’t bite Pig; 

Piggy won’t get over the stile; 

And I sha’n’t get home tonight. 

Ox [shaking lowered head] : Moo! Moo! 

Old Woman [to Butcher] : 

Butcher, Butcher, kill Ox; 

Ox won’t drink Water; 

Water won’t quench Fire; 

Fire won’t burn Stick; 

Stick won’t beat Dog; 

Dog won’t bite Pig; 

Piggy won’t get over the stile; 

And I sha’n’t get home tonight. 


44 


MOTHER GOOSE DRAMATIZED 


Butcher [shaking his head ]: No! No! 

[Old Woman dodges his waving knife.] 

Old Woman [to Rope] : 

Rope, Rope, hang Butcher; 

Butcher won’t kill Ox; 

Ox won’t drink Water; 

Water won’t quench Fire; 

Fire won’t burn Stick; 

Stick won’t beat Dog; 

Dog won’t bite Pig; 

Piggy won’t get over the stile'; 

And I sha’n’t get home tonight. 

[Rope shakes her head and thrashes floor twice 
with end of rope.] 

[To Rat] : 

Rat, Rat, gnaw Rope; 

Rope won’t hang Butcher; 

Butcher won’t kill Ox; 

Ox won’t drink Water; 

Water won’t quench Fire; 

Fire won’t burn Stick; 

Stick won’t beat Dog; 

Dog won’t bite Pig; 

Piggy won’t get over the stile; 

And I sha’n’t get home tonight. 

Bat [shaking his head] : Squeak ! Squeak ! 

Old Woman [to Cat]: 

Cat, Cat, kill Rat; 

Rat won’t gnaw Rope; 

Rope won’t hang Butcher; 

Butcher won’t kill Ox; 

Ox won’t drink Water; 

Water won’t quench Fire; 

Fire won’t burn Stick; 

Stick won’t beat Dog; 

Dog won’t bite Pig; 

Piggy won’t get over the stile; 

And I sha’n’t get home tonight. 

Cat [pointing over her shoulder] : If you will 
go to yonder Cow, and fetch me a saucer of milk, I 
will kill the Bat. Mee-ow! Mee-ow! 


MOTHER GOOSE DRAMATIZED 


45 


Old Woman [to Cow ] : 

Cow, Cow, give me a saucer of milk; 

Cat won’t kill Rat; 

Rat won’t gnaw Rope; 

Rope won’t hang Butcher; 

Butcher won’t kill Ox; 

Ox won’t drink Water; 

Water won’t quench Fire; 

Fire won’t burn Stick; 

Stick won’t beat Dog; 

Dog won’t bite Pig; 

Piggy won’t get over the stile; 

And I slia’n’t get home tonight. 

Cow ['pointing over her shoulder ] : If you will 
go to yonder Haymakers, and fetch me a wisp of 
hay, I’ll give you the milk. Moo! Moo! 

Old Woman [to Haymakers] : 

Haymakers, give me a wisp of hay; 

Cow won’t give me milk; 

Cat won’t kill Rat; 

Rat won’t gnaw Rope; 

Rope won’t hang Butcher; 

Butcher won’t kill Ox; 

Ox won’t drink Water; 

Water won’t quench Fire; 

Fire won’t burn Stick; 

Stick won’t beat Dog; 

Dog won’t bite Pig; 

Piggy won’t get over the stile; 

And I sha’n’t get home tonight. 

Haymakers [pointing to front, left corner of stage, 
where some stones are scattered, and holding out a 
tin bucket] : If you will go to yonder stream, and 
fetch us a bucket of water, we’ll give you the hay. 

[Old Woman takes bucket and goes to the stream. 
There she turns up the front of her skirt and kneels 
doivn stiffly. She looks into bucket.] 

Old Woman: 

Mercy me! 

As I do live, 

This bucket’s nothing 
But a sieve! 


46 


MOTHER GOOSE DRAMATIZED 


[She puts pebbles in it and then pretends to scoop 
it up full of water out of the stream. She returns 
to Haymakers. One Haymaker takes the bucket and 
drinks thirstily. The other gives her the wisp of 
hay.] 

Haymaker : 

It’s thirsty we get 
This summer day; 

Thanks to you, ma’am, 

And here’s your hay. 

Old Woman: Thank ye! Thank ye!' I’m much 
obliged! 

[She returns to the Cow. Cow eats wisp of hay 
hungrily.] 

Cow: 

Moo! 

Moo! 

And here’s the saucer 
Of milk for you. 

[Cow pulls a saucer out of her pocket and gives 
it carefully to the Old Woman.] 

Old Woman: Thank ye! Thank ye! I’m much 
obliged! 

[She carries saucer of milk carefully to Cat. Cat 
laps the milk up greedily.] 

Cat [licking her chops] : 

Mee-ow! 

Mee-ow! 

Watch me kill 

That fat Rat now! 

[She pounces upon Rat.] 

Rat : Squeak! Squeak! 

[Rat gnaws at rope. Rope twists her rope about 
Butcher’s neck.] 

Butcher : Ouch! Ouch! 

[Butcher sticks his knife into Ox.] 


MOTHER GOOSE DRAMATIZED 


47 


Ox: Moo! Moo! 

[Ox drinks out of pail. Water turns pail upside- 
down over candle. Fire touches candle to Stick. Stick 
beats Dog with her gad.] 

Dog : Bow-wow! Bow-wow! 

[Dog bites Piggy.] 

Piggy [jumping up in fright}: Squee! Squee! 

[He jumps over the stile in great haste. The Old 
Woman follows , her skirts held high. She shoos 
Piggy out at right.] 

Old Woman: Thanks a mercy, I’ll get home to¬ 
night after all! 

Curtain 


48 


MOTHER GOOSE DRAMATIZED 


Curly Locks 

A charming playlet in one scene. For nine chil¬ 
dren, five boys and four girls. 

CHARACTERS 

Curly Locks, 

Bobby Shaftoe, 

Two Boys from Japan, 

Two Girls from Belgium, 

A Lad from the Farm, 

A Black Boy from the Plantation, and 
A Maid from the Dairy. 

COSTUMES 

Curly Locks has on a pink apron, wet down the 
front, and her sleeves are rolled up. She has thick, 
long curls, tied with a pink ribbon. 

Bobby Shaftoe is in a natty sailor suit and cap and 
has silver buckles at his knees. The buckles may be 
made of cardboard and covered with silver paper. 

The two boys from Japan are in gorgeous native 
costume, the one in yellow figured with purple de¬ 
signs, the other in pale green with orange designs. 
One of them has a cushion of figured silk, many- 
colored tassels at the corners. 

The two girls from Belgium are in peasant costume 
—black girdles laced over white blouses and full 
skirts, the one scarlet, the other royal blue. They 
have on peasant caps and wooden shoes. The one 
has a napkin with a threaded needle in the hem, the 
other has a square of lace. 

The lad from the farm has on overalls and a big 
straw hat. He has a little basket fashioned from 
green leaves and filled with strawberries. The straw¬ 
berries may be made of red tissue paper and cotton 


MOTHER GOOSE DRAMATIZED 


49 


batting with bits of green for the hulls. Among 
them is a candy strawberry. 

The black boy from the plantation is a grinning 
little pickaninny with very white teeth in his blacked 
face. His black hair is mussed up to make it look 
wooly. His blacked feet are bare. He is dressed in 
an odd assortment of bright-hued garments. In his 
hands are a stalk of sugar cane and a little glass 
bowl of sugar. The stalk of cane may be artificial. 

The maid from the dairy has a ruffled blue apron 
tied about her waist and a ruffled blue sunbonnet on 
her head. She has a shining milkpail over her arm 
and a little glass pitcher of cream in her hand. 

SETTING 

The stage is a kitchen with a door to the left and 
another to the right. In the center is a table piled 
with dishes and pots and pans. In their midst is a 
dishpan of soapy water. Two low stools are on the 
floor near the table, a battered pail on one of them. 
There may be other kitchen furniture and utensils 
to complete the room if desired. 

SCENE 

[Curly Locks is dreamily washing the dishes.] 

Curly Locks: 

Bobby Shaf toe’s gone to sea, 

With silver buckles at his knee, 

When he comes back, he’ll marry me, 

Pretty Bobby Shaftoe. 

[Children just outside the right entrance set up a 
lusty and continued squealing for the swine. Curly 
Locks 9 dreams vanish and she sings cheerfully to the 

pigs.] 

Curly Locks will leave her pan, 

She will bring the swine their bran; 

Just as quickly as she can, 

Curly Locks is coming. 


50 


MOTHER GOOSE DRAMATIZED 


[She drops her dishcloth into the water, shakes the 
suds from her hands, picks up the pail off the stool, 
and goes out at right. The squealing changes to 
contented grunting.] 




[A knock is heard on the door to the left, then 
another. Then Bobby Shaftoe enters, glancing 
around, followed by the two boys from Japan, 
after them the two girls from Belgium, after them 
the lad from the farm, after him the black boy from 
the plantation, and last the maid from the dairy. 
Curly Locks returns as soon as they are all in, set¬ 
ting her pail down by the door as comes in.] 



MOTHER GOOSE DRAMATIZED 


51 


Bobby Shaftoe: 

Curly Locks, Curly Locks, where hast thou been? 
When I knocked at thy door, thou wast not within, 
To bid me to enter and welcome me 
After all these years I have been at sea. 

Curly Locks [joyously] : 

To feed her swine had Curly Locks 
Left her pan of pots and crocks, 

There she never heard thy knocks— 

Welcome, Bobby Shaftoe! 

[Bobby Shaftoe kisses her hand, then he waves 
the two boys from Japan forward. The one places 
the cushion on one of the stools.] 

Bobby Shaftoe: 

A cushion of silk from Tokyotown, 

Filled with the softest of Japanese down, 

Painted with scenes of the Orient, 

Dusted with spicy, far-East scent. 

[Gallantly he seats Curly Locks upon the cushion. 
Then he waves the two girls from Belgium forward. 
The one lays the napkin in Curly Locks’ lap, the 
other arranges the square of lace on the other stool.] 

A square of linen from Brusselsland, 

Softly sheer and woven by hand; 

A bit of a cobweb, drawn and stitched 
By fingers that were, I am sure, bewitched. 

[Curly Locks takes a stitch or two in the napkin. 
Bobby Shaftoe waves the lad from the farm, the 
black boy from the plantation, and the maid from 
the dairy forward. The lad places his basket of 
strawberries on the square of lace, the black boy sets 
his bowl of sugar beside it, and the maid sets her 
pitcher of cream beside it.] 

Strawberries fresh from the farm to eat, 

Red as your lips and big and sweet; 

Sugar straight from the sunny South; 

And cream from the dairy to melt in your mouth. 


52 


MOTHER GOOSE DRAMATIZED 


[Curly Locks daintily picks up the candy straw - 
berry and eats it. Bobby Shaftoe drops to one knee 
at her feet. The boys from Japan , etc., are in a half 
circle back of Curly Locks’ stool.] 

Curly Locks, Curly Locks, wilt thou be mine? 

Thou shalt not wash the dishes, nor yet feed the 
swine; 

But sit on a cushion and sew a fine seam, 

And feast upon strawberries, sugar and cream! 

Curly Looks: 

“When I come back, I’ll marry thee,” 

Has been my fondest memory— 
hiow, you are back, I’ll marry thee, 

Pretty Bobby Shaftoe. 


Curtain 


MOTHER GOOSE DRAMATIZED 


53 


Three Little Kittens 

A cunning little play in three scenes. For three 
boys and two girls. 

CHARACTERS 

Mother Cat, 

Three Little Kittens— two boys and a girl, 

Tom Tinker’s Dog— a boy. 

TIME 

A cold day late in the autumn. 

COSTUMES 

Mother Cat —Cat ears standing up through little 
white cap, blue-checked apron tied about waist, 
white kerchief, long wired tail showing below 
dress behind, spectacles. 

Three Little Kittens —Cat ears and tails, knitted 
mufflers, overshoes. 

Tom Tinker’s Dog—T errier ears and tail. 

All may be much more elaborately dressed up as 
cats and dog if desired. 

ENTRANCES 
Two, one on either side. 

SCENE I 

[Kitchen. Mother Cat, facing front, is rolling, out 
pie crust at a table. It is real pie crust. Flour sifter, 
measuring cup, pie tins, spoons and a pumpkin are 
on the table besides the baking board and the rolling 
pin she is using. Enter at right Three Little Kittens, 
prancing. They hold their “paws” in a drooping 


54 


MOTHER GOOSE DRAMATIZED 


position in front of them like cats. Mother Cat turns 
to look at them over her spectacles.] 



Mother Cat [ severely ] : Take off your overshoes! 
Where are your mittens? 

Three Little Kittens [losing their jauntiness of 
nanner] : 

Oh, mother dear, 

We very much fear 

That we have lost our mittens! 

Mother Cat: 

Lost your mittens! 

You naughty kittens! 

Then you shall have no pie! 

Three Little Kittens [lugubriously wiping their 
eyes ]*: 

Mee-ow, mee-ow, mee-ow, 

And we can have no pie! 

Mee-ow, mee-ow, mee-ow! 

Mother Cat: 

You heedless kittens, 

Go find your mittens, 

Immediately! Step spry! 




MOTHER GOOSE DRAMATIZED 


55 


Three Little Kittens [going out at right en¬ 
trance, crying] : 

Mee-ow, mee-ow, mee-ow, 

And we can have no pie! 

Mee-ow, mee-ow, mee-ow! 

Mother Cat [to herself ] : The second pair of 
new mittens those naughty kittens have lost already 
and it isn’t Thanksgiving yet! 

SCENE II 

[Forest. Underbrush background. Tom Tinker’s 
Dog is having a big time in center of stage with three 
pairs of red mittens , each pair fastened to a long 
cord. Enter Three Little Kittens at right.] 

Tom Tinker’s Dog [stopping to look at them] : 
Bow, wow, wow! 

Three Little Kittens: 

Whose dog art thou? 

Tom Tinker’s Dog: 

Little Tom Tinker’s Dog, 

Bow, wow, wow! 

Three Little Kittens [spitting at Tom Tinker’s 

Dog] : 

Mee-ow, mee-ow, mee-ow! 

This morn you made 
Us run, afraid, 

And drop our new red mittens! 

Now back we’ve come 
To chase you home, 

Three valiant little kittens! 

Let go! Let go! 

Or we will know 

The foolish reason why; 

No dog’s bow-wow 
Can scare us now, 

We want our piece of pie! 

Mee-ow, mee-ow, mee-ow, 

We want our piece of pie! 

Mee-ow, mee-ow, mee-ow! 


56 MOTHER GOOSE DRAMATIZED 

[Scratch and spit at Tom Tinker } s Dog and chase 
him out at left entrance. He disentangles himself 
from mittens as he flees.] 

Tom Tinker’s Dog: 

Yip! Yip! 

Three Little Kittens [waving derisive paws after 
him] : 

Mee-ow, mee-ow, good-by! 

[Return across stage, dancing, gathering up their 
mittens, and putting them on.] 

Mee-ow, mee-ow, mee-ow! 

SCENE III 

[Kitchen. Mother Cat, with a towel, is setting 
pumpkin pie on table—seemingly bringing it from 
oven. It is a real pie. Enter at right Three Little 
Kittens, dancing happily.] 

Three Little Kittens [holding up paws] : 

Oh, mother dear, 

See here! See here! 

We have found our mittens! 

Mother Cat [looking up at them over her spec¬ 
tacles] : 

Found your mittens! 

You darling kittens! 

Then you shall have some pie! 

Three Little Kittens [hopping about delight¬ 
edly] : 

Mee-ow, mee-ow, mee-ow, 

Now we can have some pie! 

Mee-ow, mee-ow, mee-ow! 

[Mother Cat cuts large wedges out of pie and gives 
them to Kittens, who then execute a little set dance, 
waving their pieces of pie above their heads.] 

Mee-ow, mee-ow, mee-ow, 

Now we can have some pie! 

Mee-ow, mee-ow, mee-ow! 

Curtain 


MOTHER GOOSE DRAMATIZED 


57 


Over the Hills and 
Far Away 

A lively little play in one scene. For about eighteen 
children. 

CHARACTERS 
Tom, Tom, the piper’s son, 

A group of about six boys and girls, who are Ross, 
Val, Tunis, Hilda, Zillah, and Sally, 

A group of about four pigs, boys and girls, 

Dolly, the milkmaid, 

Dolly’s Cow, a girl, 

Dame Trot, 

The Peddler, 

The Peddler’s Ass, a boy, 

The Miserman, 

The Applewoman. 


COSTUMES 

Tom, Tom is gayly clad in an odd assortment of 
bright-hued garments, hat, shirt, vest, trousers, stock¬ 
ings all of different colors. His hat is on the back 
of his head. His hair is ruffled. He has a pipe or 
a flute or a whistle. 

The boys and girls are barefooted and bareheaded. 
The boys have on overalls, the girls pinafores. The 
girls have a bit of their front hair pinned into a 
little knot on top of their heads with one hairpin. 

The pigs have ears on top of their heads and 
curly tails behind. 

Dolly wears a blue dress, a checked apron is tied 
about her waist, and she carries a shining milk pail. 

Dolly’s Cow has ears, horns, and tail and a cow¬ 
bell about her neck. 


58 


MOTHER GOOSE DRAMATIZED 


Dame Trot is comically old-fashioned. She has 
on a cape, bonnet tied under her chin, lace mitts, 
and bustle. Over her arm she carries an old-fashioned 
basket of eggs. The eggs are chipped at the ends, 
the contents blown out, and a little sand substituted 
to make them heavy enough to break with a realistic 
crash when they fall on the floor. 

The Peddler is picturesquely ragged. 

The Peddler’s Ass has ears and tail. Pots and 
pans are hung about his neck and waist. 

The Miserman is old and thin and bent, his face 
is lined, and he is shabbily dressed. 

The Applewoman is fat and rosy-cheeked, but is 
poorly clothed. She has a ragged shawl pinned over 
her head and a patched apron is tied about her waist. 
In her two hands she carries a tray of polished red 
and yellow apples. 


ENTKANCES 

There are four, if possible, two to the left and 
two to the right. However, two entrances, one to the 
left and one to the right, can be made to do if 
necessary. 


SCENE 

[Tom, Tom is sitting on a stone and lolling against 
the hack wall of the stage, playing softly on his pipe 
or whistle. Any lively tune or even no tune at all 
will do very well for his “Over the hills and far 
away.” He may even whistle with his lips if he can 
do that letter. The hoys and .girls enter at right.] 

Sally [ahead, pointing] : There's Tom, Tom, the 
piper’s son! 

Zillah [holding up her finger ]: Listen! [All 
listen a moment.] 


MOTHER GOOSE DRAMATIZED 


59 


All of them: 

Tom, Tom, the piper’s son, 

He learned to play when he was young; 
But all the tunes that he can play 
Is “Over the hills and far away,” 

Over the hills and a great way off. 

And the wind will blow my topknot off! 




[Tom, Tom lazily gets up off his stone and makes 
for the left entrance, playing louder and faster. 
At <( the wind will blow my topknot off,” boys and 
girls clap one hand up to their topknots and go whirl¬ 
ing and dancing after Tom, Tom, single file.] 

Now, Tom with his pipe makes such a noise, 

That he pleases both us girls and boys, 

And we stop to hear Mm play 
“Over the hills and far away.” 

[Tom, Tom goes out at nearer left entrance, fol¬ 
lowed by the dancing boys and girls. He can be 
heard playing behind the scenes till he appears at 
farther left entrance, still followed by the dancing 
boys and girls. Every once in a while throughout 


60 


MOTHER GOOSE DRAMATIZED 


the play some hoy or girl claps his hand to his head 
to keep his topknot from blowing off. Tom, Tom 
starts to cross to right. Pigs enter at right, on all 
fours, heads down, as if rooting.] 

Tunis [pointing] : There are Farmer Higgins ’ 
pigs down the road! They must have got out of the 
field. 

[Tom, Tom plays louder and faster. Pigs stop, 
look up and listen a moment, then they get up on 
their i( hind legs ” and dance gayly about. The faster 
and faster Tom, Tom plays, the more dizzily they 
iphirl and dance.] 

Boys and Girls: 

Tom with his pipe does play with such skill 
That those who hear him can never keep still; 
Whenever they hear him they begin for to dance— 
Even pigs on their hind legs will after him prance. 

[Tom, Tom stops at last, out of breath. The pigs 
stop, breathless, too. Then Tom, Tom continues on 
his way, followed by the dancing boys and girls. 
When the boys and girls have passed them, the pigs 
follow, dancing. All go out at nearer right entrance. 
As before, Tom, Tom plays a moment, softly, behind 
the scenes and then comes in at farther right en¬ 
trance. The line back and forth across the stage is 
always the same, first Tom, Tom, sauntering idly 
along, next the boys and girls, dancing and whirl¬ 
ing, behind them the pigs, dancing and whirling, 
each new character as he appears taking his place 
at the end of the dancing procession. If the stage 
is large enough, they dance single file; if not, they 
dance grouped. Tom, Tom always plays softly, the 
moment they remain behind the scenes. Dolly, fol¬ 
lowed by her Cow, chewing her cud, enters at left 
as Tom, Tom and his followers come in at right.] 

Boss [pointing ]: Tom, Tom, there’s Dolly! She’s 
been milking her Cow. 


MOTHER GOQSE DRAMATIZED 


61 


[Tom, Tom plays louder and faster. Dolly and 
her Cow stop and look up. Then they'begin to dance 
the “Cheshire round.” Faster and faster Tom, Tom 
plays, and faster and faster Dolly and her Cow dance 
around and around. Dolly drops her pail and she 
and her Cow kick it about in their mad dancing .] 

Boys and Girls: 

As Dolly is milking her Cow today, 

Tom takes out his pipe and begins for to play; 

So Doll and her Cow dance “the Cheshire round,” 

Till the pail is broke and the milk runs on the 
ground. 

[When Tom, Tom has to stop for breath, Dolly 
and her Cow stop dancing, breathless. Dolly sees 
her dented pail and the milk on the ground—there 
should be a little water in the pail to run out—and 
wrings her hands in dismay. The Cow calmly goes 
on chewing her cud.] 

Dolly : My new milk pail! And my milk! How¬ 
ever am I going to buy me a setting of Buff Leghorns 
now to put under Biddy to hatch out twelve chicks 
to raise to sell in the fall to buy me a dress to get 
married in? [Catching sight of Tom, Tom, she wails.] 

Tom, Tom, why did you play 
“Over the hills and far away?” 

They played that tune at the dance when Jim 
O’Hara asked me to marry him! 

Tom, Tom: Ha, ha, ha! 

[Tom, Tom commences playing again. Dolly and 
her Cow begin dancing merrily again, Dolly snapping 
her fingers gayly at the spilled milk. When the pigs 
have passed them, Dolly and her Cow follow. All 
go out at nearer left entrance and come in a moment 
later at farther left. Dame Trot enters at right, hold¬ 
ing up her skirts with one hand, her basket of eggs 
over one arm and an umbrella under her other arm.] 


62 


MOTHER GOOSE DRAMATIZED 


Zillah [pointing] : Tom, Tom, there is Dame 
Trot going to market! 

[Tom, Tom plays louder and faster. Dame Trot 
stops, looks up, and then begins to dance. As Tom, 
Tom plays faster and faster, faster and faster she 
whirls and dances, waving her basket of eggs and her 
umbrella. The eggs fall out on the ground, one or 
two at a time, and the shells are crushed under her 
flying heels.] 

Boys and Girls: 

Tom meets old Dame Trot with a basket of eggs. 

He uses his pipe and she uses her legs; 

She dances about till the eggs are all broke, 

She begins for to fret, but he laughs at the joke. 

[Tom, Tom stops out of breath. Dame Trot stops 
dancing, breathless, too. She adjusts her bonnet, pulls 
her cape straight, and lifts her hands, horrified at 
the sight of the eggs on the ground.] 

Dame Trot : Goodness sakes alive! My basket of 
eggs! My basket of eggs I was taking to market! 
What shall I do? Whatever shall I do? [Catching 
sight of Tom, Tom, she shakes her umbrella at him.] 

Tom, Tom, you witless fool, 

Why ain’t you at your books in school? 

Instead of playin'’ that melody 

They played when the beaux was courtin’ me? 

[She tosses her head coquettishly and flirts her 
skirts.] 

Tom, Tom: Ha, ha, ha! 

[Dame Trot takes a menacing step in his direction, 
but he begins playing again and she forgets her eggs 
and falls to dancing once more. When Dolly and 
her Cow have passed her, Dame Trot follows, dancing. 
All go out at nearer right entrance and enter a 
moment later at farther right. The Peddler, driving his 
Ass and beating him with a switch, enters at left. 
The Ass walks dejectedly, head down.] 


MOTHER GOOSE DRAMATIZED 


63 


Peddler : Giddap, there! D ’you want to be all 
day and all night makin’ Sunflowerville ? 

Val [pointing] : There’s the Peddler coming 
down the road, Tom, Tom! 

Hilda : The mean fellow is beating his poor tired 
Ass loaded down with pots and pans! 

[Tom, Tom plays faster and louder. The Peddler 
and his Ass stop and look up. Then they begin to 
dance, the Peddler waving his switch. The pots and 
pans fall off the Ass and rattle around under their 
feet as they spin and whirl faster and faster as Tom, 
Tom plays faster and faster.] 

Boys and Girls: 

Tom sees a cross fellow is beating an Ass, 
Heavy-laden with pots, pans, dishes, and glass; 

He takes out his pipe and plays them a tune, 

And the jackass’s load is lightened full soon! 

[Tom, Tom at last stops for breath. The Peddler 
and his Ass stop, too, out of breath. Stupified, the 
Peddler looks at the litter of his notions on the 
ground.] 

Peddler: My pots and pans! My mugs and 
vases! [Angrily he turns upon his Ass, brandish¬ 
ing his switch.] You’ll cavort about like that in the 
road, will you, and ruin my pots, pans, dishes, and 
glass? I’ll— [Catching sight of Tom, Tom, he 
shakes his switch at him.] 

Tom. Toiii, you good-for-naught, 

You’ll get a heatin’ when you’re caught! 

I’ll give you somethin’ to whistle for, 

And then," I vow, you’ll whistle no more! 

Tom, Tom : Ha, ha, ha! 

[He begins to play again. The Peddler flings his 
switch away and he and his Ass fall to dancing again. 
When Dame Trot has passed them, they fall in be¬ 
hind, dancing. All go out at nearer left entrance 


64 


MOTHER GOOSE DRAMATIZED 


and come in a moment later at farther left. The 
Miserman enters at right, clinking some gold pieces 
in his hands.] 

Miserman [to himself] : Ah! Seven pieces of 
gold ’Zekiel Hathaway paid me for my bag of wool! 
Seven gold pieces to add to the pile in the hole under 
the hearthstone! Seven! 

Hilda [pointing] : There is the Miserman, Tom, 
Tom! 

Tunis: Folks say he’s got gold and gold hidden 
away somewhere! 

Sally : He never spends any of it! He has worn 
that old coat as long as I can remember and they say 
he lives on crusts and water! 

[Tom, Tom plays louder and faster. The Miser¬ 
man stops and looks up. Then he begins to dance, 
stijfly at first, then more nimbly. More giddily and 
more giddily he spins and turns as Tom, Tom plays 
faster and faster. Recklessly he flings his gold pieces 
from him.] 

Boys and Girls: 

As the Miserman gloats o’er his golden pay, 

Tom gets out his pipe and begins for to play; 

The Miserman dances a Highland fling, 

And liis gold rolls away with a gleeful ring! 

[When at last Tom, Tom stops for breath, the 
Miserman stops, breathless. Dazedly, he looks 
around.] 

Miserman [shrilly] : My gold pieces! My beau¬ 
tiful gold pieces! My seven gold pieces! Somebody 
will steal them before I can find them! [Catching 
sight of Tom, Tom, he shakes his fist at him.] 

fou rascally, good-for-nothing fellow 

With your “Over the hills” in notes so mellow; 

They made me clean forget I am old 
And kick up my heels and lose my gold! 


MOTHER GOOSE DRAMATIZED 


65 


Tom, Tom: Ha, ha, ha! [He advances a step.] 

Miserman [energetically motioning him hack] : 
Keep away there ! Keep away till I find my seven 
gold pieces! [Stiffly he gets down on his knees, be¬ 
ginning to search frantically for his gold pieces, find¬ 
ing one piece.] 

Boys and Girls [running forward] : We’ll help 
yon, Mr. Miserman! 

Miserman [motioning them hack] : No! No! No! 
You will keep my gold pieces if you find them! 

Boys and Girls: Oh, no, we will not! [They go 
down on their knees, feeling around. Each finds one 
piece of money.] 

Boss [holding his piece up] : Here’s one, Mr. 
Miserman! 

Zillah [holding up hers] : Here is another! 

Hilda [holding up hers] : Here is another! 

Val: We’ve found all your gold pieces! 

[The Miserman gets up stiffly, and the hoys and 
girls crowd around him, about to put the gold pieces 
into his out-stretched hand, when Tom, Tom begins 
playing again. At the first note, the Miserman begins 
to dance.] 

Miserman: Keep the gold pieces for your own! 
Keep them all! I have plenty more! 

Boys and Girls [dancing after Tom, Tom as he 
passes them]: Oh, thank you, Mr. Miserman! [A 
moment later.] 

Tom, Tom, the piper’s son, 

He does some good for all his fun; 

At his tunes the miser turns generous 
And gives his precious gold to us! 


66 


MOTHER GOOSE DRAMATIZED 


[When the Peddler and his Ass have passed him, 
the Miserman dances after. All go out at nearer 
right entrance and a, moment later come in at farther 
right. The Applewoman enters at left.] 

Applewoman [in hawker’s voice] : 

Red apples! Yellow apples! 

One a penny! Two a penny! 

Snow apples! Russet apples! 

How many ? How many ? 

Tunis [pointing] : Tom, Tom, listen! The Apple- 
woman’s coming down the street ! 

[Tom, Tom plays louder and faster. The Apple- 
woman stops and looks up. Then she shifts her tray 
to the palm of one hand, lifts her skirts with the 
other, and begins to dance, her apples bounding off 
her tray. The faster and faster Tom, Tom plays, 
the faster and faster she dances.] 

Boys and Girls: 

When Tom meets the Applewoman on his way, 

He takes out his pipe and begins for to play; 

The Applewoman dances a gay quadrille 
Till she tips her tray and her apples spill! 

[When Tom, Tom stops for breath, the Apple- 
woman stops, breathless, too. Then she notices her 
scattered apples and clasps her hands in despair .] 

Applewoman : Deary, deary, me! My Baldwins 
and Tommy Hawkins are all dnsty and bruised! A 
body won’t never buy them now! Deary, deary, me! 

Tom, Tom: Ha, ha, ha! 

Applewoman [turning to him, weakly scolding] : 

Tommy, why did you go for to play 
“Over the hills and far away?” 

They played that tune when I was a girl 
And it always sets my wits in a whirl! 

[She throws her apron over her head and cries 
into it.] 


MOTHER GOOSE DRAMATIZED 


67 


Boys and Girls [running forward ] : Never you 
mind, Mrs. Applewoman! We’ll buy your apples! 
[They pick up her tray and put it into her hands. 
Theyi they scramble about after the apples, each pick¬ 
ing up one apple. They put their gold pieces on her 
tray, t&king big bites out of their apples and smack¬ 
ing their lips.] 

Applewoman : Bless your hearts! Bless your 
hearts! These gold pieces will keep me and the 
children in buns and coals for many and many a day! 

[Tom, Tom begins to play again, proceeding on his 
lazy way. The boys and girls dance after him as 
he passes them. The Applewoman, carefully balanc¬ 
ing her tray on both palms, dances after the Miser- 
man as he passes her.] 

Boys and Girls: 

Tom, Tom, the piper’s son, 

He learned to play when he was young; 

But all the tunes" that he can play 
Is “Over the hills and far away.” 

Over the hills, and a great way off, 

And the wind will blow my topknot off! 

Tom’s ever ready with his pranks, 

But, nevertheless, he has our thanks, 

For he makes us all feel good and gay 
When “Over the hills” we hear him play, 

And dance our tempers and faults away. 


Curtain 


68 


MOTHER GOOSE DRAMATIZED 


Bye, Baby Bunting 

A Christmas play in one scene for about eleven 
small children. 



CHARACTERS 

One of them is Mother Bunting. 

The others are Santa’s Elves and Fairies. 
Baby Bunting is a big doll in a cradle. 


MOTHER GOOSE DRAMATIZED 


69 


SCENE 

[There is a chimney place at the back of the stage. 
In the grate is a fire, made of logs and red tissue 
paper over a lighted lantern. Mother Bunting, in 
spectacles, is knitting the last row of a baby’s stock¬ 
ing in a rocking chair in the center of the stage, 
rocking Baby Bunting’s cradle with her foot. She 
hums the tune for a moment after the curtain goes 
up. The tune is (( Bye, Baby Bunting.”} 

Mother Bunting [softly] : 

Bye, Baby Bunting, 

Daddy’s gone a-hunting 
To get a little rabbit skin 
To wrap the Baby Bunting in. 

[Elves and Fairies, in white brownie suits and caps, 
and fairy frocks and wings, all glittering with sparkle- 
snow, enter, finger raised for silence, eyes big and 
round, lips making a noiseless (( oh!”, necks craned 
forward. They tiptoe funnily , bending their knees 
and raising their feet high. When they reach the 
cradle, they join hands and dance around it and 
Mother Bunting, a comical dance, first once around 
them to the right, then once around them to ’the left, 
etc. Mother Bunting takes no notice of them. She 
hums while they sing.] 

Elves and Fairies [singing softly] : 

I. 

From the snowy regions, 

Santa’s elfin legions, 

We’ve galloped down atop the back 
Of one of Santa’s reindeer pack. 

II. 

Christmas secrets maybe 
We will whisper, Baby; 

Cross your heart you’ll stay asleep 
And never listen once nor peep. 


70 


MOTHER GOOSE DRAMATIZED 


III. 

Secrets you’ve ne’er heard of, 

Not a single word of! 

Of goings-on away up North, 

Concerning you, and so on forth. 

IV. 

Clad against the weather, 

Spirits in fine feather, 

Old Santa’s strapped his snowshoes on— 
And where do you suppose he’s gone? 


V. 

While the whole world over, 

Like young pigs in clover, 

The children laugh the hours away, 

Anticipating Christmas Day. 

VI. 

With its puddings steaming, 

Christmas trees a-gleaming, 

And holly wreaths and mistletoe, 

And dolls that dance and trains that go. 

[Let go hands, lift finger, open eyes wide, utter a 
noiseless “oh!”, and jump back a step, still kesping, 
however, in a ring. Mother Bunting, paying no 
attention to them, leans over the cradle, rocking it 
faster, as if Baby Bunting had stirred.] 

Mother Bunting: 

Bye, Baby Bunting, 

Daddy’s gone a-hunting 
To get a little rabbit skin 
To wrap the Baby Bunting in. 

[She takes up her knitting again, as if Baby Bunt - 
ing is still once more. Elves and Fairies join hands 
and dance around the cradle as before.] 

Elves and Fairies: 

VII. 

Bye, Baby Bunting, 

Santa’s gone a-hunting 

To get a little Teddy bear 

For Baby’s stocking, we declare! 


MOTHER GOOSE DRAMATIZED 


71 


Mother Bunting [drawing needles out of stock¬ 
ing and holding it up\: There! 

[Elves and Fairies let go hands, jump back a 
startled step, open their eyes, etc., as before, and go 
out as they entered, only much faster. Mother Bunt¬ 
ing, still humming, gets up and crosses to fireplace 
with the stocking. As the curtain goes down she is 
hanging it up.] 


Curtain 


72 


MOTHER GOOSE DRAMATIZED 


The Ginger-Bread Man 

A play of the Trades in four scenes. For any 
number of children. 


TIME 

Merchantmen’s Day, a gala day. 


PLACE 

Scenes I and IV, a street of London. Scene II, 
the Ginger-bread Man’s shop. Scene III, the market 
place. 


CHARACTERS 
The Ginger-bread Man, 

A group of boys and girls, including Cyril, Tom, 
Withers, Leslie, Bob, Jennie, Mary, Harriet, 
Ann, and Constance, 

The Merchantmen, a larger group of children. 


SETTING 

None for street and market place scenes. For the 
shop scene there is a counter with a few candies and 
little frosted cakes on it and a lot of ginger-bread 
boys. On the wall hang an old print and a bird 
cage. On the counter is a cat curled up asleep. A 
bell is fastened over right entrance and a string is 
attached to the bell. 


ENTRANCES 

Two, one to the right, one to the left. 


MOTHER GOOSE DRAMATIZED 


73 


COSTUMES 

Ginger-bread-Man —He is a bent, old man with 
straggling white hair under a black silk skullcap, in 
a shapeless, shiny jacket and baggy trousers. His 
face is lined and he wears steel-rimmed spectacles, 
over which he peers in a jolly fashion. 

Boys and Girls —Ordinary suits and frocks. 

Merchantmen— Long capes of scarlet cheesecloth, 
bordered at the bottom with a band of yellow or a 
strip of gold paper, and with a silk handkerchief 
folded cornerwise for a collar. Scarlet tam-o’-shanter 
caps, turned up at one side with a black feather. 

The group is divided into twelve smaller groups 
and one Banker. The groups are: Bakers, Drapers, 
Grocers, Haberdashers, Candy Shopkeepers, Furni¬ 
ture Shopkeepers, Fruiterers, Toy Shopkeepers, 
Butchers, Apothecaries, News-standkeepers, Jewel- 
smiths, and Fishwives. The Banker is temporary 
leader. The first of each group carries a yellow ban¬ 
ner with some sign of the group’s trade cut out of 
different colored cloth or paper and pasted or stitched 
on—mortar and pestle for the Apothecaries, butcher 
knife for the Butchers, loaf of bread for the Bakers, 
a fish for the Fishwives, etc. 

SCENE I 

[Boys and girls are having a good time in the 
street, playing tag, marbles, etc.] 

Boys and Girls [tune, “Go in and out the win¬ 
dows”] : 

Come sing and laugh and frolic, 

Come sing and laugh and frolic, 

Come sing and laugh and frolic, 

Today is gala day. 

Jennie: Oh, I’m glad the Merchantmen of Lon- 
dontown have gala day today! 


74 


MOTHER GOOSE DRAMATIZED 


Tom: So’m I, for then the schoolmaster gave us 
holiday, too! 

Harriet: To play in! 

Mary: And sing in! 

Withers: And have a good time in! Hurrah! 

Ann: Sh! Sh! There come the Merchantmen! 

[She points to right. A tramping of feet is heard. 
Boys and girls gather out of the way, some standing, 
some flinging themselves down on the floor.] 

Boys and Girls: 

Hey diddle, dinketty, pompetty, pet, 

The merchants of London, they wear scarlet; 

Silk in the collar, and gold in the hem, 

So merrily march the merchantmen. 

[Merchantmen enter at right, waving banners. 
They march slowly by two’s, except the banner bearer 
of each group. The Banker is at the head of the 
lines. As each group holds the center of the stage, 
its members sing their stanza—if not enough chil¬ 
dren compose a group to sing by themselves, the 
groups ahead and behind sing with them. The lines 
go out at left.] 

Merchantmen [tune, <( Here we come gathering 
nuts and may”] : 

Here we come marching through Londontown, 5 
Londontown, Londontown, 

Here we come marching through Londontown, 

The merry merchants of London. 

Banker : 

To me you come bringing your "pence and crowns, 
Pence and crowns, pence and crowns, 

To me you come bringing your pence and crowns, 

To put in the Bank of England. 


MOTHER GOOSE DRAMATIZED 


75 


Bakers : 

From us you come purchasing currant buns, 
Currant buns, currant buns, 

From us you come purchasing currant buns, 

And tarts and caraway cookies. 

Drapers : 

From us you come purchasing prints and silks, 
Prints and silks, prints and silks, 

From us you come purchasing prints and silks, 
And reels of twist and cotton. 

Grocers : 

From us you come purchasing tea and spice, 
Tea and spice, tea and spice, 

From us you come purchasing tea and spice, 
Tobacco, and tapioca. 

Haberdashers : 

From us you come purchasing silk cravats, 
Silk cravats, silk cravats, 

From us you come purchasing silk cravats, 
And papers of pins and needles. 

Candy Shopkeepers: 

From us you come purchasing peppermints, 
Peppermints, peppermints, 

From us you come purchasing peppermints, 
And sugared citron and taffy. 

Furniture Shopkeepers : 

From us you come purchasing trundle beds, 
Trundle beds, trundle beds, 

From us you come purchasing trundle beds, 
And Chippendale tables and sofas. 

Fruiterers : 

From us you come purchasing oranges, 

Oranges, oranges, 

From us you come purchasing oranges, 

And apples and figs and bananas. 

Toy Shopkeepers: 

From us you come purchasing bubble pipes, 
Bubble pipes, bubble pipes. 

From us you come purchasing bubble pipes, 
And dolls and tramcars at Christmas. 


76 


MOTHER GOOSE DRAMATIZED 


Butchers : 

From us you come purchasing roasts of beef, 
Koasts of beef, roasts of beef, 

From us you come purchasing roasts of beef, 

And legs of mutton and bacon. 

Apothecaries : 

From us you come purchasing pills and scent, 

Pills and scent, pills and scent, 

From us you come purchasing pills and scent, 

And soap and lotions and bitters. 

News-standkeepers : 

From us you come buying the Times and Punch, 
Times and Punch, Times and Punch, 

From us you come buying the Times and Punch, 
And Tid-bits and John o’ London. 

JEWELSMITHS: 

From us you come purchasing silver spoons, 

Silver spoons, silver spoons, 

From us you come purchasing silver spoons, 

And earrings and cameo brooches. 

Fishwives : 

From us you come purchasing shrimps and clams, 
Shrimps and clams, shrimps and clams, 

From us you come purchasing shrimps and clams, 
And periwinkles and cockles. 

[Boys and girls collect in group after last Fish¬ 
wife has disappeared.] 

Constance: I didn’t see the Ginger-bread Man. 
Leslie: I didn’t either. 

Bob: The Ginger-bread Man didn’t march with 
the Merchantmen. 

Tom: I wonder why. 

Harriet: Let’s go to his shop and find out. [Run 
out.] 


MOTHER GOOSE DRAMATIZED 


77 


SCENE II 

[The Ginger-bread Man’s shop has nobody in it. 
The boys and girls troop in at right, tinkling the 
bell over the door. They crowd along counter and 
the Ginger-bread Man comes in at left.] 



Ginger-bread Man: Good-morning to you, brave 
lads and fair lassies, and what shall it be this bonny 
morning? 

Mary [pointing] : I’ll have that Jim Crow. 

Tom: And I’ll have a ha’penny’s worth of cina- 
mon drops. 


78 


MOTHER GOOSE DRAMATIZED 


[■ Ginger-bread Man gives Mary the cooky and Tom 
a hand fid of candies, taking their pennies and put¬ 
ting them in his box.] 

Withers: We don’t have to go to school today. 

Ginger-bread Man: So I see. So I see. 

Jennie: It’s gala day! It’s Merchantmen’s Day! 

Ginger-bread Man: Ah, yes. 

Cyril: We saw the merchants of London march¬ 
ing down the street. Didn’t you want to march with 
them? 

Harriet [when the Ginger-bread Man does not 
answer ] : The Merchantmen are wearing scarlet! 

Ann: Silk in the collar! 

Constance: And gold in the hem! 

Ginger-bread Man: Ah, yes. 

Bob: They’ve gone to the market place now. 

Leslie: To vote. 

Ginger-bread Man: Ah, yes. 

Cyril: Didn’t you want to march with them? 
Didn’t you? 

Ginger-bread Man : We-el,—you see, Master Cyril, 
this is how ’tis. Scarlet with silk in the collar and 
gold in the hem takes many shillings, and Jim Crows 
and candies bring in only ha’pennies, and there’s 
Singin’ Dick there to buy birdseed and cuttlefishbone 
for, and Mistress Tabs here to buy milk and pigs’ 
kidneys for, besides tea and biscuits for a stiff old 
fellow what can’t be up and getting himself much of 
a livin’ any more. What was it you said you’d 
have, Master Leslie? 

Leslie [looking around ]: You haven’t any seed¬ 
cakes this morning? 


MOTHER GOOSE DRAMATIZED 


79 


Ginger-bread Man : Seedcakes is it ? A fresh box¬ 
ful I was opening when the bell went tinkle-ting. 
Just a jiffy! 

[Goes out at left. Boys and girls consult together 
in low tones.] 

Cyril : The merchants of London march again be¬ 
fore tea. I wish the Ginger-bread Man might march 
with them. 

Leslie: I have ha’penny. 

Constance: So have I. 

Jennie: I have tuppence. 

[The rest show empty palms ruefully.] 

Withers: Thrippence won’t buy scarlet with silk 
in the collar and gold in the hem. 

Cyril: I wish he might march, though. Can’t 
we think of something? 

Harriet: Let’s— 

Mary [nudging her] : Sh! 

[Ginger-bread Man returns with seedcakes and 
gives Leslie one, taking his coin in exchange.] 

Ginger-bread Man: So! And is that all I can 
sell you this morning? Then, here, Miss Constance, 
you shall hold Mistress Tabs a while and all of you 
shall listen to Singin’ Dick do his finest. [Whistles 
to canary.] 

Constance: Not this morning, thank you. Mister 
Ginger-bread Man. 

Some of the Others: We have affairs of impor¬ 
tance to attend to. 

Ginger-bread Man: ’Tis good-morning then? 

Boys and Girls: It’s good-morning then. [Go 
out , tinkling bell merrily.] 


80 


MOTHER GOOSE DRAMATIZED 


SCENE III 

[Merchantmen are seated in single, or double — 
according to how many there are of them—semicircle 
on the floor, facing front. The Banker faces them. 
Each has 'pencil and slip of paper. Boys and girls 
slip in and stand at one side listening and watching.] 

Banker [displaying a banner decorated with all 
the signs of the other banners and a cape similar to 
the other scarlet capes except that it has a double 
band of yellow or gold at the bottom ] : Our leader’s 
banner! Our leader’s robe! Who is to bear it? 
Who is to wear it? The best man among us when 
we march before the Lord Mayor at teatime. Who 
is the best? We shall see! We shall see! But be¬ 
fore we vote let each man tell us why we should vote 
him best among us. Grocers! 

Grocers: We sell flour and salt. Can a body do 
without either? 

Banker : Butchers! 

Butchers: We sell red beef to make stout mus¬ 
cles. 

Banker : Bakers! 

Bakers: We sell the staff o’ life. 

Banker : Drapers! 

Drapers : We sell patterns of cloth for gentlemen’s 
shirts and ladies’ bodices. 

Banker : Toy Shopkeepers! 

Toy Shopkeepers: We sell picture books and wax 
dolls for the children. 

Banker : News-standkeepers! 

News-standkeepers: We sell the latest news and 
the best essays from all over the Kingdom. 

Banker : Haberdashers! 


MOTHER GOOSE DRAMATIZED 


81 


Haberdashers: We sell pins and needles. What 
housewife can get along without her pins and needles ? 

Banker : Furniture Shopkeepers! 

Furniture Shopkeepers: We sell chairs and 
tables. A man must have his chair to sit in after tea 
and his table for his checkerboard. 

Banker : Apothecaries! 

Apothecaries: We sell cod liver oil and smelling 
salts. 

Banker : Fruiterers! 

Fruiterers: We sell lemons and dates from far 
lands. 

Banker : Candy Shopkeepers! 

Candy Shopkeepers: We sell lollipops and loz¬ 
enges to the delight of young and old. 

Banker : Jewelsmiths! 

Jewelsmiths: We sell gold rings for the white 
fingers of highborn ladies. 

Banker : Fishwives! 

Fishwives: We sell morsels that melt in the 
mouth fresh from the sea. 

Banker: And I make your pence and shillings 
grow into crowns and pounds. Now— 

Boys and Girls [singing softly] : 

The Ginger-bread Man, the Ginger-bread Man, 

And don’t you remember the Ginger-bread Man? 

[These tivo lines have the swing of the refrain of 
the stanzas of “Poor Babes in the Wood.” Mer¬ 
chantmen look up, pencils poised.] 

One Merchantman [reminiscently] : There used 
to be the best ginger-bread man round the corner 
when I was a boy in— 


82 


MOTHER GOOSE DRAMATIZED 


Another : There was one out Somerset way now— 

Another: But the ginger-bread man on Clarence 
Road in old Hale! There was a ginger-bread man 
for you! 

Another : There was an old fellow next the Green' 
Man in Wrexham sold such ginger-bread as I’ve ne’er 
bit into from that day to this! 

Merchantmen [softly singing] : 

The ginger-bread man, the ginger-bread man, 

And don’t you remember the ginger-bread man? 


SCENE IV 

[Boys and girls are skipping about happily.] 

Boys and Girls [singing] : 

Come sing and laugh and frolic, 

Come sing and laugh and frolic, 

Come sing and laugh and frolic, 

Today is gala day. 

Mary [pointing] : There come the Merchantmen! 
[Boys and girls gather out of the way in a group.] 

Boys and Girls: 

Hey diddle, dinketty, pompetty, pet, 

The merchants of London, they wear scarlet; 

Silk in the collar, and gold in the hem, 

So merrily march the merchantmen. 

[Merchantmen enter at left, march across stage, 
and out at right, the Ginger-bread Man at their head 
in the robe of honor, carrying the banner of honor. 
The Banker is at the end of the lines.] 

Merchantmen [singing]: 

I. 

Here we come marching through Londontown, 
Londontown, Londontown, 

Here we come marching through Londontown, 

The merry merchants of London. 


MOTHER GOOSE DRAMATIZED 


83 


II. 

Who is the merchant that leads us all, 

Leads us all, leads us all, 

Who is the merchant that leads us all, 

And carries our banner of honor? 

III. 

Dressed in scarlet with silk and gold, 

Silk and gold, silk and gold, 

Dressed in scarlet with silk and gold, 

In double bands at the bottom. 

IV. 

None but the best-loved, the Ginger-bread Man, 
Ginger-bread Man, Ginger-bread Man, 

None but the best-loved, the Ginger-bread Man, 

The choice of the merchants of London. 

[Boys throw their caps up, girls clap their hands.] 

Boys and Girls: 

Hail to the choice of the Merchantmen, 

Merchantmen, Merchantmen, 

Hail to the choice of the Merchantmen, 

The Ginger-bread Man of London! 


Curtain 


84 


MOTHER GOOSE DRAMATIZED 


I Had a Little Nut Tree 

The biggest little play in ten scenes. For about 
sixty boys and girls. 

CHARACTERS 

Margot, a poor little girl in a garret, 

Terry, a poor boy and Margot’s playmate, 

The Dancers, about eight girls, 

The Singers, about eight girls, 

The Minstrels, about seven boys and one girl, 

The Scholars, four boys and four girls, 

The Gardeners, four boys, 

The Sailors, about six boys, 

The King of Spain’s Daughter, 

Her Attendants, two Heralds, a Page, Ladies-in 
Waiting, and Ministers. 

SUGGESTIONS 

The entire action takes place in the garret where 
Margot lives, but, in order to indicate elapse of time, 
the play is divided into ten scenes. No change of 
scenery is necessary. Two minutes of music may 
separate the scenes. 

Members of the school band should be picked for 
the Minstrels. Their selections, the songs of the 
singers,\nd theTtances of the dancers should be some 
the childrN< already have learned in their school 
work—school tunes, school songs, folk or fancy dances. 

COSTUMES 

Margot —Faded and ragged, shoes and stockings 
in holes, hair tangled. 

Terry —Ragged, bareheaded, barefooted. 


MOTHER GOOSE DRAMATIZED 


85 


The Dancers —Short, full, pink dresses, which may 
be of tissue paper, wreaths of pink flowers in their 
hair, big, fancy fans. 

The Singers —Long, yellow, Grecian robes, a black 
cord knotted about the w T aist, black bandeaux. 

The Minstrels —Fantastic black and scarlet suits 
and tasseled caps. One has a drum, another a horn, 
another clapping blocks, etc. The girl has a tam¬ 
bourine. 

The Scholars —Black caps and gowns such as col¬ 
lege seniors wear. Each carries his particular book. 

The Gardeners —Picturesque old suits and caps. 
The first has an orange in his pocket, the second an 
apple, the third has a handful of roses, the fourth 
has a handful of daffodils. 

The Sailors —Sailor suits and caps. 

The King of Spain’s Daughter —Spanish robes 
of state, long cape, slippers, and coronet of gold. 

Attendants —Fine, Spanish court clothes. 
SETTING 

The garret Margot lives in. An old table is pushed 
against back wall, and there is a rocker that creaks 
and that has lost one arm. A window is supposed to 
be in left wall; a blind is rolled crookedly and pinned, 
and there are sagging sash curtains. A soap box 
is in a corner and there are a handless and -cracked 
pitcher and mug on the table. The entrance is to 
the right. 

SCENE I 

[Margot creaks back and forth in the rocker, 
munching a crust and wiping tears away on her sleeve. 
Terry enters , whistling, hands behind his back. He 
stops whistling when he sees Margot is crying.] 


86 


MOTHER GOOSE DRAMATIZED 


Terry: Hello! What’s the matter, Margot? 

Margot: This crust is so small, Terry. 

Terry : Never mind, Margot! Guess what I have! 

Margot : For me ? 

Terry: For you. 

Margot: A flower to put in my hair and an 
orange to eat and a book to read out of. 

Terry [ crestfallen] : No—o— There ! [Holds 
out his hands with a little leafless plant, root and all, 
in them.] 

Margot [jumping up, dropping her crust, and tak¬ 
ing plant eagerly hut carefully ] : Where did you 
get it, Terry? What is it? What shall we plant 
it in? 

Terry: The flowerman downstairs gave it to me. 
It’s a nut tree he said. See, some of its branches 
got broken and so he couldn’t sell it. 

Margot: Oh, I’m glad they got broken [running 
to table and picking up pitcher ] ! Can we plant it 
in this? 

Terry: Isn’t it too big? 

Margot: But maybe the little nut tree will grow 
big. 

Terry: Maybe it will so. Come on, let’s go dig 
some dirt. [Takes pitcher, seizes her by the hand, 
and they run out.] 

SCENE II 

[Margot creaks gently to and fro in the rocker, 
facing the window. The soap box is under the win¬ 
dow and on it is the nut tree planted in the pitcher. 
It is a tall little tree now, still leafless. Conspicu¬ 
ously among the branches hang a shining silver nut¬ 
meg and a glittering golden pear. Terry enters.] 


MOTHER GOOSE DRAMATIZED 


87 


Terry: Oh, Margot,— 

Margot [running to pull Terry over to window] : 
Look, Terry, look! 

I had a little nut tree; 

Nothing would it bear 
But a silver nutmeg 
And a golden pear. 



Terry: They’re pretty enough, but you can’t eat 
a silver nutmeg, Margot, and read out of a golden 
pear. 

Margot [laughing] : They’re^ so pretty I forget 
I’m hungry looking at them. 

[They are silent a minute or two, standing hand 
in hand looking at the nut tree.] 

Terry: I’m going to work, Margot. That’s what 
I came up to tell you. I can’t come to play any 



88 


MOTHER GOOSE DRAMATIZED 


more. It’s time I went to work. See how big I 
am [ stretching and standing very tall and straight] ! 
Soon I’ll be as big as a man. 

Margot: Oh, oh, what you going to do, Terry? 

Terry [grandly, if vaguely ] : Oh, work. Then 
when I’ve made lots of money, Margot, I’m coming 
back for you. You shall have a whole orchard of 
oranges to eat then and a whole greenhouse of roses 
to put in your hair and a whole library of books to 
read out of. 

Margot [clapping her hands] : Then we’ll be glad, 
won’t we [plucking a twig off the nut tree and pull¬ 
ing it through Terry’s buttonhole] ? A bit of my nut 
tree for luck! 


SCENE III 

[Margot is watering her nut tree with the cup. A 
rap is heard on the door.] 

Margot : Come in! 

[The Minstrels enter.] 

First Minstrel [bowing] : A pretty morning to 
a pretty miss, and is this the Margot who has a nut 
tree with a silver nutmeg and a golden pear? 

Margot [nodding] : I’m Margot. 

Second Minstrel: And where is this nut tree 
that boy talked about all day and every day? 

Margot [pointing] : Here’s my nut tree. 

[The Minstrels crowd around the soap box and 
peer at nut tree.] 

Third Minstrel: Wonderful! 

Fourth Minstrel: Extraordinary! 

Fifth Minstrel : Exotic! 

Sixth Minstrel : Amazing! 


MOTHER GOOSE DRAMATIZED 


89 


Margot [pulling at Seventh Minstrel’s sleeve] : 
Was the boy’s name Terry? 

Seventh Minstrel [turning to her ] : Terry he 
was. 

Margot: Where is Terry? What is he doing? 

Eighth Minstrel: Terry carried the drum for 
me last week, and a good drumboy he was. We don’t 
know where he is now. He left us to better himself, 
so he said. 

Third Minstrel [bowing] : And what can some 
jolly street minstrels do for the pretty Margot who 
allowed them the pleasure of seeing her nut tree? 

Margot: If only you’d play! 

Several of the Minstrels: Of course. [They 
group themselves in center of room and play two or 
three tunes or a medley.] 


SCENE IV 

[Margot is digging about the roots of her nut tree 
with a stick , humming happily one of the tunes of 
the Minstrels. A rap sounds on the door.] 

Margot: Come in! 

[The Dancers trip in.] 

First Dancer [bowing] : Is this the Miss Margot 
who has a nut tree with a silver nutmeg and a golden 
pear? 

Margot [nodding] : I’m Margot. 

Second Dancer : Where is this nut tree that boy 
was always talking about? 

Margot [pointing] : Here’s my nut tree. 

[The Dancers crowd about nut tree.] 

Third Dancer: Oh! 


90 


MOTHER GOOSE DRAMATIZED 


Fourth Dancer : Ah! 

Fifth Dancer: How exquisite! 

Sixth Dancer: How the nutmeg shines! 

Seventh Dancer : How the pear glitters! 

Margot [pulling at Eighth Dancer*s sleeve] : Was 
the boy’s name Terry? 

Eighth Dancer: Terry? Yes. 

Margot: Where is Terry? What is he doing? 

Third Dancer: Terry passed the programs at the 
show last w r eek but he doesn’t any more. We don’t 
know where he is now. He left, he told us, to better 
himself. 

Fourth Dancer [bowing] : We wish we could do 
something for you, Margot, in return for the enjoy¬ 
ment your nut tree has given us. 

Margot: If only you’d dance! 

[The Dancers execute several group dances , with 
some solo parts.] 

SCENE V 

[Margot is pinching dead ends off the twigs of her 
nut tree , stopping after each pinch to take one of the 
dance steps of the Dancers. A rap is heard.] 

Margot : Come in! 

[The Scholars enter.] 

First Scholar: Good afternoon. Are you she 
who has in her possession a flora rara that bears a 
nutmeg of silver metal and a pear of pure gold? 

Margot : I’m Margot. 

Second Scholar: I pray you, Miss Margot, con¬ 
duct us to behold the spectacle, the wonders of which 
that boy was at all times relating. 


MOTHER GOOSE DRAMATIZED 


91 


Margot: Here’s my nut tree. 

[The Scholars pull out their spectacles, polish them , 
adjust them, and bend over the nut tree.] 

First Scholar [poking a finger into the soil] : 
Roots, fascicled. 

Second Scholar [peering through magnifying 
glass] : Leaves, none. 

Third Scholar [breaking off a twig and fingering 
it] : Branching, alternate. 

Fourth Scholar [pinching pear and nutmeg] : 
Fruit, of two distinct varieties. 

Margot [plucking at Fifth Scholar’s gown] : Was 
the boy’s name Terry? 

Fifth Scholar [looking at her over his glasses]: 
Eh? Terry? Yes, I believe Terrence did refer to 
himself as Terry. 

Margot : Where is Terry ? What is he doing ? 

[The Scholars turn reluctantly from the nut tree, 
taking off their glasses and returning them to their 
pockets.] 

Sixth Scholar: Terrence swept the college cor¬ 
ridors last week, but he no longer follows that calling. 
We are not informed of his present whereabouts. He 
gave up his employment at the college to improve 
his fortunes. 

Seventh Scholar: We are greatly indebted to 
you, Miss Margot, for the privilege of analyzing this 
unique shrub. 

Eighth Scholar: We should be gratified if we 
might in return confer a favor upon you, Miss 
Margot. 

Margot: If only I might read out of one of your 
books! 


92 


MOTHER GOOSE DRAMATIZED 


Several of the Scholars: You may have them 
all to read. 

Fifth Scholar [putting geography into her 
hands ] : 

This is the story 
Of the world 

And the seven seas 
About it curled. 

Second Scholar [putting physiology on top of 
geography ] : 

This book will 
Introduce you to 

The wonders hid 
Inside of you. 

Third Scholar [putting grammar on top of physi¬ 
ology ] : 

This book will teach 
You how to speak 

Better English 
Week by week. 

Fourth Scholar [putting arithmetic on top of 
grammar ] : 

Margot, what is 
Nine times three? 

Margot [shaking her head ] : I don’t know. 

Fourth Scholar: 

Then learn your tables 
Diligently. 

Fifth Scholar [putting history on top of arith¬ 
metic ] : 

This tells the tale 
From 1 B. C. 

To 1923 [or whatever year it isl 
A. D. 

Sixth Scholar [putting botany on top of history] : 

You want to learn 
Of shrubs and herbs 

As well as dates 

And bones and verbs. 


MOTHER GOOSE DRAMATIZED 


93 


Seventh Scholar [putting civics on top of 
botany] : 

Study your civics 
Again and again 
To grow up to be 
A good citizen. 

Eighth Scholar [putting reader on top of civics] : 
This book relates 
In verse and prose 
The stories every 
Schoolchild knows. 


SCENE VI 

[Margot sways back and forth in the rocker by the 
nut tree, the geography open on top of the pile of 
other books in her lap, her head bent over it.] 

Margot [to herself] : Here’s my Londontown on 
the Thames [English pronunciation, Terns] and— 
[A rap is heard.] Come in! 

[The Singers enter. Margot jumps up, letting her 
books slide into the chair.] 

First Singer: Is this the bonny Margot that lias 
a wonderful nut tree with a nutmeg of silver and a 
pear of gold? 

Margot : I’m Margot. 

Second Singer: And where is this nut tree that 
boy was always talking about? 

Margot: Here’s my nut tree. [The Singers crowd 
around the nut tree.] 

Third Singer: How beautiful it is! 

Fourth Singer: We must compose a song about 
it to sing at the concert. 


94 MOTHER GOOSE DRAMATIZED 

Fifth Singer: How is this? [Beginning to the 
tune of “Sing a Song of Sixpence.”] 

Sing a song of Margot’s 
Garret cold and bare— 

[Hesitates for words.] 

Sixth Singer [taking up the tune] : 

Save a little nut tree 
With a golden pear— 

Margot [pulling at Seventh Singer’s sleeve] : Was 
the boy’s name Terry? 

Seventh Singer: Terry was his name. 

Margot: Where is Terry? What is he doing? 

Eighth Singer: Terry ran errands at the con¬ 
cert hall last week, but he doesn’t any more. We 
don’t know where he is now. He left to better him¬ 
self. 

Third Singer [returning to song] : 

And a silver nutmeg 

Hanging from its boughs— 

Fourth Singer: Come! Come! Are these kind 
manners? Let our song wait! We haven’t thanked 
the bonny Margot yet for giving us the pretty motive 
for the stanzas. 

Fifth Singer [turning to Margot] : We wish we 
could do something to show you how grateful we are. 

Margot: If only you’d sing! 

[The Singers group themselves in center of room 
and sing several songs, some with solo or duet parts 
if possible.] 

SCENE VII 

[Margot is dusting the pitcher her nut tree is 
planted in, singing the chorus of one of the Singers’ 
songs. A rap is heard.] 


MOTHER GOOSE DRAMATIZED 


95 


Margot : Come in! 

[The Gardeners enter.] 

First Gardener [pulling at his cap] : Top o’ the 
morning Miss, an’ hare you the Margot w’at ’as a 
nut tree with a silver nutmeg an’ a golden pear? 

Margot: I’m Margot. 

Second Gardener [rubbing his hands expectantly] : 
An’ w’ere his this nut tree the boy w’at weeded the 
flower beds were forhever atalkin’ on? 

Margot: Here’s my nut tree. 

[The Gardeners crowd around the nut tree, pinch¬ 
ing the twigs , touching the fruit, poking their fingers 
into the soil.] 

Third Gardener: There’s ne’er a shrub like hit 
in Covent Gardens! 

Fourth Gardener: There’s not a plant like hit 
in m’lord’s conservatories! 

First Gardener: There’s not a bush like hit at 
Windsor Castle! 

Second Gardener: There’s not a perhennial like 
hit in the Botanical Gardens! 

Margot [pulling at Third Gardeners sleeve] : Was 
the boy that weeded the flower beds T.rry? 

Third Gardener: Terry ’e were an’ nothin’ else. 

Margot: Where is Terry? Where are the flower 
beds? 

Fourth Gardener: An’ that we don’t rightly 
know, Miss,—Hi means the boy an’ not the beds. 
’E don’t weed them no more. ’E left Saturday to 
better hisself. Them were ’is very words. 

First Gardener: We’d like to say hour thanks, 
Miss, for showin’ hus the bonny tree hif we honly 
knew ’ow now. 

Margot: If only I might have a rose! 


96 


MOTHER GOOSE DRAMATIZED 


Second Gardener [thrusting his roses into her 
hand] : Hall of them! 

Third Gardener [pulling orange out of his pocket 
and giving it to her]: An’ ’ere's a orange! 

Fourth Gardener [doing likewise with his apple] : 
An’ ’ere’s a apple! 

First Gardener [thrusting his daffodils into her 
hands]: An’ some daffydils! 


SCENE VIII 

[Margot, a rose in her hair, a daffodil pinned on 
her waist, eating her orange out of one hand and 
her apple out of the other, the rest of her flowers 
in tin cans on the table, sits rocking beside the nut 
tree. A rap is heard.] 

Sailors [outside] : Ahoy! Ahoy! 

Margot : Come in! 

[Sailors enter with rolling walk. They touch their 
forelocks to Margot.] 

First Sailor: Howdy!' Bless me bottom sail an’ 
is this Margot? 

Margot: I’m Margot. 

Second Sailor: Bless me top sail an’ w ’ere’s that 
nnt tree with the gold an’ silver fruit that cabin boy 
was forhever singin’ the praises of? 

Margot: Here’s my nut tree. [Sailors crowd 
around nut tree.] 

Third Sailor: Shiver my timbers! 

Fourth Sailor: Bless me buttons! 

Fifth Sailor: The boy were right! 

Sixth Sailor: That he were, mate! 


MOTHER GOOSE DRAMATIZED 


97 


Margot [plucking at First Sailor’s sleeve] : Was 
the cabin boy’s name Terry? 

First Sailor: That it were, miss. 

Margot: Where is Terry? What is he doing? 

Second Sailor: An’ that we don’t know. J E 
went ashore at a Spanish port to better ’is fortunes 
’e says, an’ we see ’im no more. 

Third Sailor: An’ w’hat could a jolly sailor an’ 
’is rollickin’ mates do to say thanky? 

Margot: If only you’d dance the hornpipe! 

Fourth Sailor [bobbing to her]: ’Eartily, lass! 

[Sailors dance a hornpipe and lustily sing.] 

Sailors : 

Fifteen men on the good ship Belle, 

Yo, ho, yo, an’ a boy sung bold, 

“A meg I’ve seen-with a silver shell, 

Yo, ho, yo, an’ a pear of gold.” 

SCENE IX 

[Margot is dancing a few steps of the hornpipe 
and shouting last line of the Sailors’ song. A trumpet 
sounds twice outside. A sharp knock is heard on the 
door.] 

Margot: Come in! 

[The Heralds , blowing two blasts on their trumpets 
again , enter , followed by the King of Spain’s Daugh¬ 
ter, a Page holding her train, Ladies-inAVaiting, and 
Ministers.] 

First Herald: This is the little girl who has a 
nut tree that bears a silver nutmeg and a golden 
pear? 

Margot [curtsying] : I’m Margot. 

Second Herald [sweeping floor with hat] : The 
King of Spain’s Daughter! 


98 


MOTHER GOOSE DRAMATIZED 


Margot [curtsying to princess]: Your servant! 

The King of Spain’s Daughter: Will you show 
us, Margot, the nut tree our lacky is always singing 
about as he scours the pots in the scullary? We 
hear him every morning when we go to walk. 

Margot [curtsying] : Here’s my nut tree, High¬ 
ness. 

[Princess bends over nut tree , daintily touching 
the pear and nutmeg. Retinue crowd up a decorous 
step behind her.] 

The King of Spain’s Daughter: We never be¬ 
held the like before! We feel as if we were in some 
far country. [She turns to Margot. Retinue resume 
proper distance and stiff , court manners.] We wish 
we could do you as great a happiness, Margot. * 

Margot: You can, Highness. Is the lacky’s name 
Terry ? 

The King of Spain’s Daughter: Terry? [Turn¬ 
ing to a Minister.] Manuel, is the lacky’s name Terry ? 

The Minister [bowing] : It is. 

Margot: Is Terry still at the castle? Is he still 
your lacky, Highness? And is the castle away off 
in Spain? 

The King of Spain’s Daughter: We know he 
was our lacky boy just before we sailed away because 
we heard him singing about Margot’s little nut tree 
as we stepped into our carriage. And the castle is 
away off in Spain [looking around room and back 
at Margot]. But is there not something more we 
could do to thank you? 

Margot: If only I might touch your cape, High¬ 
ness ! 

A Minister [coming fonvard] : Ask something 
else, child, like a doll or a velvet hood. One may not 
finger the King of Spain’s Daughter’s royal robes. 


MOTHER GOOSE DRAMATIZED 


99 


The King of Spain’s Daughter [motioning him 
aside ] : Come here, Margot. [Margot steps nearer 
to princess, who slips her cape off and puts it around 
Margot’s shoulders, completely covering the faded 
dress. Stoops and begins to unbuckle slipper.] You 
shall have our royal cape and slippers and brooch 
for your very own, Margot. 

SCENE X 

[Margot, in cape, slippers, and brooch, stands by 
her nut tree, a piece of broken mirror propped against 
the pitcher, twisting and turning to see herself. 
Terry, in splendid Spanish array and carrying a 
velvet hat with a long plume, enters.] 

Terry : Hello! 

Margot [turning and staring] : It’s—it is Terry! 
[Running forward, then stopping abashed.] How 
splendid you are! 

Terry [sweeping the floor with his hat] : Your 
knight, Margot! 

Margot: I’m so glad—for you. 

Terry: It’s your doing, Margot. The King of 
Spain’s Daughter knighted me because my singing 
told her of your little nut tree with the silver nutmeg 
and golden pear. 

Margot [clapping her hands, but half-heartedly] : 

I had a little nut tree; 

Something did it bear 
Besides a silver nutmeg 
And a golden pear. 

Terry: You don’t look as if you were glad. 

Margot: Spain is so far away. 

Terry [laughing] : But your nut tree bore some¬ 
thing else, too. Something for you! 


100 


MOTHER GOOSE DRAMATIZED 


Margot: Yes, indeed! Dances and songs and 
roses and books and oranges and— 

Terry: Ladyhood! The King of Spain’s Daugh¬ 
ter sent me to fetch you to be a lady at the King’s 
court. 

Margot: A lady at the King of Spain’s court? 
Me! 

Terry: A lady at the King of Spain’s court. 
You! That’s what comes from tending a little broken 
plant! 

Margot : 

I had a little nut tree; 

Nothing would it bear. 

But a silver nutmeg 
And a golden pear. 

The King of Spain’s Daughter 
Came to visit me, 

And all was because 
Of my little nut tree. 

I skipped over water, 

I danced over sea, 

And all the birds in the air 
Couldn’t catch me. 


Curtain 


MOTHER GOOSE DRAMATIZED 


101 


Twinkle -Twinkle 

A choice little playlet in one scene. For about 
thirteen boys and girls. 


CHARACTERS 

One of the boys is Ted. 

The others and the girls are Star Sprites. 


COSTUMES 

Ted has on a sleeping garment. 

The Star Sprites have on white stockings with big 
pom-poms at their ankles, and they wear white dresses 
and suits and little star caps of white tissue paper. 
They carry stars, ten or twelve inches in diameter, 
made of cardboard and covered with silver paper. 
A strip of cloth is pasted on the back for the chil¬ 
dren to slip their hands through. They carry the 
stars as warriors of old carried their shields. 


SCENE 

[The stage is dimly lighted. Ted is sitting on a 
hassock in the center of the stage, elbows on knees, 
chin in hands, gazing up overhead.] 


Ted [saying or singing] : 

Twinkle, twinkle, little star, 
How 1 wonder what you are, 
Up above the world so high, 
Like a diamond in the sky! 


Twinkle, twinkle, little star, 
How I wonder what you are. 


102 


MOTHER. GOOSE DRAMATIZED 


[He yawns, drops his head upon his arms, fast 
asleep. The Star Sprites enter on tiptoe. They ad¬ 
vance warily, ready to flee if Ted stirs. When they 
have made sure he is asleep, they become bolder and 
dance in a ring about him, thrusting their stars this 
way and that and behind them to suit the words. 
They sing softly to the tune of “Twinkle, twinkle, 
little star,” in a merrily mocking manner.] 

Star Sprites: 

I. 

Twinkle, twinkle, little star, 

How you wonder what we are, 

Lip above the world so high, 

Like a diamond in the skv! 

* 

Twinkle, twinkle, little star, 

How you wonder what we are! 


II. 

Proper answers we know well, 
But we’ll never, never tell 
What we are nor how our light 
Twinkles, twinkles all the night. 


Twinkle, twinkle, we know well, 

But we’ll never, never tell! 

[They nod their heads at <( know well,” and shake 
them at (i never, never tell.”] 


III. 

Twinkle, twinkle, off and on, 

Now we’re there and now we’re gone I 
Now we hide and now we peek, 
Frolicking at hide-and-seek. 


Twinkle, twinkle, off and on, 

Now we’re there and now we’re gone. 


MOTHER GOOSE DRAMATIZED 


103 


IV. 

Twinkle through an orange tree; 
On a man-of-war at sea; 

Through the crowded Ghetto panes; 
Over lonely, country lanes; 

Eight above vour cellar door; 
Over distant Singapore. 


V. 

Twinkle over snowy lands; 

Over burning, desert sands; 
Down on lions coaming wild; 
Down on lambs so shy and mild; 


Over castles all alight; 

Over huts as dark as night. 

VI. 

Peep through blooming cherry trees 
On the tucked-in Japanese; 

On the little Esquimaux, 

Fast asleep in beds of snow; 

On the nodding Highland lads, 
Tugging at their kilted plaids. 

VII. 

Twinkle, twinkle, out we go! 
Twinkle, twinkle, in we glow! 
Playing tap-I-spy afar, 

How you wonder what we are! 


Twinkle, twinkle, in we glow! 

Twinkle, twinkle, out we go! 

[Ted stretches, lifts his head, and yawns. The 
Star Sprites disappear in a twinkling, half skipping 
out at left, half at right. Ted rubs his eyes open, 
yawning again, until he is wide awake. He looks 
around him eagerly, then up overhead.] 


MOTHER GOOSE DRAMATIZED 



[Little stars, I do declare, 

You are twinkling still up there, 

Just a moment’s time ago 

You were twinkling here below! 


How did you return so soon, 
Were you wearing giant’s shoon? 




















































MOTHER GOOSE DRAMATIZED 


105 


II. 

Twinkle, twinkle, little star, 
How I wonder what you are, 
Up above the world so high, 
Like a diamond in the sky! 

Twinkle, twinkle, little star, 
How I wonder what you are. 


Star Sprites [very softly behind the scenes] : 

Twinkle, twinkle, we know well, 

But we’ll never, never tell. 


Curtain 


106 


MOTHER GOOSE DRAMATIZED 


Nanny Etticoat 

A gay little play in one scene. For thirty-two 
children. 

CHARACTERS 

Nanny Etticoat, 

Polly Flinders, 

Curly Locks, 

Bo-peep, 

Tommy Tucker, 

Peter, Peter, 

Boy Blue, 

Doctor Faustus, 

Jack, 

Jill, 

Simple Simon, 

Polly-put-the-kettle-on, 

SuKEY-TAKE-IT-OFF-AGAIN, 

The Haymakers, three boys, 

The Old-woman-who lived in-a-shoe, 

Her Children—T he boys are Eb, Lester Leroy, 
Samuel, William Randolph, Johnny, and Posy. 
The girls are Mary ’Liz’beth, Mirandy, Emmy, 
Tidy, Calista Babette, and Annie. 

Mary, Mary, 

Harry, 

Jack-be-nimble. 

COSTUMES 

Nanny Etticoat— A capelike dress of white that 
touches the floor, gathers up around her neck, and 
conceals her arms, which she keeps close to her sides. 
On her head is a little cap of white, topped with a 
twist of flame color. This is the flame of the candle. 


MOTHER GOOSE DRAMATIZED 


107 


Polly Flinders— Pretty white dress, stockings, 
and slippers. The front of her dress has several 
brown patches with jagged edges pasted or basted 
on for the burned holes. 

Curly Locks —Curly hair. Dainty clothes. 

Bo-peep —Prettily dressed in flowered muslin and 
a flower-trimmed shade hat. She carries a beribboned 
crook. 

Tommy Tucker— A little boy in an Eton jacket. 
He has an enormous slice of buttered white bread. 

Peter, Peter— Orange crepe paper collar and cuffs. 
He has a large wedge of pumpkin pie. 

Boy Blue —Blue overalls and shirt and big straw 
hat. He has a horn. 

Doctor Faustus —Black cap and gown, spectacles, 
book, and switch. 

Jack —Overalls, big straw hat, barefooted. 

Jill —Play apron, sunbonnet hanging down her 
back, barefooted. Jack and Jill carry a water pail 
between them. 

Simple Simon —Picturesquely clad in an odd as¬ 
sortment of bright-hued garments. He has a long 
gad rigged up as a fishpoie, and a tin pail. 

Polly-put the-kettle-on and Sukey-take-it-off- 
again —Pretty dresses and little ruffled, white caps 
and aprons. 

Haymakers —Overalls, big straw hats, and red 
handkerchiefs hanging out of their pockets. They 
carry rakes. One has an old tin bucket. 

The Old-woman-who-lived-in-the-shoe —Funnily 
old-fashioned. 

Her Children —Happy-go-luckily clad (like the 
Ruggleses). 


108 


MOTHER GOOSE DRAMATIZED 


Mary, Mary —Pretty dress and a flower-laden shade 
hat. She carries a shining sprinkling can. 

Harry —Ordinary little-boy clothes. 

Jack-be-nimble —Black clown suit and cap with 
orange neck ruff, cap band, instep pom-poms, etc. 

ENTRANCES 

The stage has two, one to the right and one to the 
left. 

SCENE 

[A candlestick is made of a circle of cardboard, 
about three feet across, the edge turned up a few 
inches all around, and the whole covered with gold 
paper, silver paper, or yellow paper. It is placed on the 
floor well to the right and front of the stage. Nanny 
Etticoat stands in the middle of it, motionless. Tommy 
Tucker, Peter, Peter, and Boy Blue come in at right, 
Tommy Tucker taking a bite of his bread, Peter, 
Peter taking a bite of his pie, Boy Blue blowing his 
horn.] 

Peter, Peter [pointing his finger at Tommy 
Tucker] : Ho, ho ! 

Little Tommy Tucker 

Sang for his supper; 

What did they give him? 

White bread and butter! 

I Ve got pumpkin pie hot out of the oven! Ho, ho! 

Tommy Tucker: White bread and butter is bet¬ 
ter than pumpkin pie, Peter, Peter. 

Peter, Peter: Ho, ho! 

Tommy Tucker: Well, it is! 

[Polly Flinders, Curly Locks, and Bo-peep dance 
in at right.] 


MOTHER GOOSE DRAMATIZED 


109 


Polly Flinders : Boy Blue, what are Peter, Peter 
and Tommy Tucker quarreling about? 

Boy Blue: Bread and pie, that’s all, Polly 
Flinders! 

[He blows his horn to drown out Tommy Tucker’s 
and Peter, Peter’s “ ’Tis” and “ ’Tisn’t’s.”] 

Curly Locks: 

Boy Blue, Boy Blue, 

Stop blowing your horn, 

The cows will be coming 
Out of the corn! 

[She looks timidly behind her.] 

Peter, Peter: Or the sheep from the meadow, 
Curly Locks! 

Bo-peep : I wish my sheep would come for your 
horn, Boy Blue! 

I fell asleep 
And lost my sheep, 

And can’t tell where to find them! 

Peter, Peter: 

Leave them alone 
And they’ll come home 
And bring their tails behind them! 

Bo-peep: I wish they would! 

Polly Flinders [spying Nanny Etticoat] : There’s 
Nanny Etticoat! 

[They dance around Nanny Etticoat, singing to 
the tune of (< Eing around a Rosy.”] 

All: 

Ring around our Nanny, 

Better loved than any, 

For when the daylight goes 

She lights us with her glowing nose. 

[Nanny Etticoat lets her slioidders sag slightly.] 


110 


MOTHER GOOSE DRAMATIZED 


Tommy Tucker [pointing] : Look! Lookl 

All [standing still and exclaiming] : 

Nanny Etticoat 
In a white petticoat 
And a red nose; 

The longer she lives, 

The shorter she grows! 

[Curly Locks begins to cry.] 

Polly Flinders: What’s the matter, Curly Locks? 

Curly Locks : If Nanny Etticoat goes on growing 
shorter and shorter, there’ll be nothing left of her 
pretty soon! 

Bo-peep: Curly Locks! How can you say such 
a thing? [Bo-peep begins to cry.] 

Curly Locks [weeping harder] : We-el, will there, 
Bo-peep ? 

Polly Flinders [putting the skirt of her dress 
up to her face] : Dear, dear! 

[Tommy Tucker surreptitiously wipes his eyes with 
his sleeve. Peter, Peter sniffs hard. Boy Blue looks 
sober. Nanny Etticoat lowers her shoulders slightly 
again.] 

Boy Blue [sharply] : Curly Locks, stop crying! 
Stop crying, Bo-peep! Polly Flinders, I’m ashamed 
of you! Why, you never cried once when your mother 
came and caught you sitting in the cinders warming 
your pretty little toes and whipped you for spoiling 
your nice new clothes! This is no time to cry! 

Peter, Peter : No! This is the time to do! 

[The girls wipe their eyes.] 

Polly Flinders: Do what? What can we do? 

[All are silent a moment, pondering.] 



Peter, Peter : White bread and butter! Ho, ho! 
Have a bite of pumpkin pie hot out of the oven, 
Nanny Etticoat. Pumpkin pie will make you grow! 

[He gives her a bite of his pie. Again all watch 
her intently. As she finishes eating, she slumps down 


MOTHER GOOSE DRAMATIZED 111 


Tommy Tucker [jumping up and down] : Have 
a bite of white bread and butter, Nanny Etticoat. 
White bread and butter will make you grow. 

[He gives hep a bite of his bread. All intently 
ivatch results. As she finishes eating the bite, Nanny 
Etticoat slumps her shoulders down a little.] 


112 MOTHER GOOSE DRAMATIZED 

a trifle in her candlestick. The girls begin to cry 
again. Doctor Faustus enters at left, reading his 
book and idly swinging his switch.] 

Boy Blue [pointing] : There comes Doctor Faus¬ 
tus. Let’s ask him what to do about it. He’ll know. 

Peter, Peter: He will! 

Doctor Faustus is a good man, 

He whips his scholars now and then; 

When he whips them, he makes them dance 
Out of Scotland into France, 

Out of France into Spain, 

And then he whips them back again! 

You ask him, Tommy Tucker! 

Tommy Tucker: You, Polly Flinders! 

Polly Flinders: You, Curly Locks! 

[Children hang back, keeping an eye on Doctor 
Faustus’ switch, as Curly Locks steps forward to 
meet him as he nears them in his walk across the 
stage.] 

Curly Locks [curtsying]: Please, Doctor Faus¬ 
tus, will you tell us what to do about it? 

Doctor Faustus [looking at her severely over his 
spectacles ]: What to do about it? About what? 
Be explicit! 

Curly Locks [pointing] 

Nanny Etticoat 
In a white petticoat 
And a red nose; 

The longer she lives, 

The shorter she grows! 

Doctor Faustus: Put her out, of course! Dul¬ 
lards ! 

[He glares at them over his spectacles and cracks 
his switch. The boys and Polly Flinders retreat a 
step. Then he resumes his reading and goes on and 


MOTHER GOOSE DRAMATIZED 


113 


out at right. As soon as he disappears, the children 
clap their hands and jump up and down.] 

Tommy Tucker [looking around ]: Where is the 
water? 

[The others look around.] 

Bo-peep [pointing] : There come Jack and Jill. 
They’ll go up the hill to fetch a pail of water! 

[Jack and Jill enter at left, swinging their pail. 
The children run to meet them.] 

Polly Flinders [ahead]: 

Jack arid Jill, 

Go up the hill 
To fetch a pail of water! 

Jack and Jill: What for? 

Polly Flinders: To put Nanny Etticoat out. 

All [pointing] : 

Nanny Etticoat 
In a white petticoat 
And a red nose; 

The longer she lives, 

The shorter she grows! 

[Nanny Etticoat slumps down a little lower.] 

Jack and Jill: All right! 

Tommy Tucker: Hurry! 

[Jack and Jill run out at right. Children dance 
about Nanny Etticoat.] 

All: Now we’ll soon have you put out, Nanny 
Etticoat! 

[Jack and Jill run in at right. Jack falls down, 
piclling Jill down after him. There should be a little 
water in their pail to spill out.] 

Jack [sitting up and rubbing his head]: 

I fell down 

And broke my crown! 


114 


MOTHER GOOSE DRAMATIZED 


Jill [sitting up and putting two fingers into her 
mouth] : 

And I came tumbling after! 

[The others run to help them up. Jack and Jill 
run limping out at left. As soon as they have gone, 
the children gather about the pail, righting it and 
looking into it.] 

Boy Blue: There isn’t a drop left in it! 

Peter, Peter: Nary a drop! 

[Meanwhile, Simple Simon has entered at right, 
set his pail on the floor near the hack of the stage 
and somewhat to the right, settled himself on a) stone, 
and fallen to fishing.] 

Tommy Tucker [pointing]: There is Simple 
Simon fishing. 

[All run over to Simple Simon.] 

Boy Blue: What are yon fishing for, Simple 
Simon ? 

Simple Simon: A whale. 

Tommy Tucker: A whale! Where is your water? 

Simple Simon: In ma’s pail there. 

Peter, Peter: 

Simple Simon is a-fishing 
For to catch a whale; 

All the water he has got 
Is in his mother’s pail! 

Curly Locks: Don’t yon mind Peter, Peter, Siim 
pie Simon. 

Peter, Peter, pumpkin eater, 

Had a wife and couldn’t keep her; 

He put her in a pumpkin-shell, 

And there he only kept her well. 

because she couldn’t hear him making fun of her any 
more! 


MOTHER GOOSE DRAMATIZED 115 

Peter, Peter [comically dropping to one knee and 
putting his hand on his heart ] : 

Curly Locks, Curly Locks, 

Wilt thou be mine? 

Thou shalt not wash the dishes, 

Nor yet feed the swine; 

But sit on a cushion 
And sew a fine seam, 

And feast upon strawberries, 

Sugar, and cream! 

Polly Flinders: The dishes would go unwashed 
then, and the pigs unfed! 

[Peter, Peter laughs and gets up.] 

Bo-peep: May we have the water in your pail, 
Simple Simon? 

Simple Simon: What for? 

Bo-peep: To put Nanny Etticoat out. 

All [pointing] : 

Nanny Etticoat 
In a white petticoat 
And a red nose; 

The longer she lives, 

The shorter she grows! 

[Nanny Etticoat slips down a little.] 

Simple Simon: Yah! Take some quick! Take 
it all! Put her out! 

[Boy Blue and Tommy Tucker snatch up the pail 
and start to run with it to Nanny Etticoat. At the 
unexpected lightness of it, they stop to investigate.] 

Boy Blue and Tommy Tucker: Simple Simon’s 
mother’s pail hasn’t any water in it! 

[The others crowd around them.] 

Polly Flinders and Peter, Peter: It’s all leaked 
out through the holes! 

[Boy Blue and Tommy Tucker return the pail to 
the place where Simple Simon had it, and Simple 
Simon falls gravely to fishing again.] 


116 


MOTHER GOOSE DRAMATIZED 


Curly Locks [holding up her finger ] : Listen! 

[The rest listen. Then all tiptoe over to left en - 
trance and stand there, listening.] 

Sukey-take-it-off-again [just outside left en¬ 
trance] : 

Polly, put the kettle on, 

Polly, put the kettle on, 

Polly, put the kettle on, 

And let’s drink tea. 

Bo-peep: Knock on the door, Boy Blue! Polly- 
put-the-kettle-on will let us take her teakettle a minute 
before it boils. 

[Boy Blue raises his fist to knock when Curly Locks 
pulls his sleeve.] 

Curly Locks : Sh! 

Polly-put-the-kettle-on [just outside entrance] : 

Sukey, take it off again, 

Sukey, take it off again, 

Sukey, take it off again, 

They’re all gone away. 

Polly Flinders: Dear, dear! I wonder if they 
left any water in the teakettle. 

[Polly-put-the-kettle-on and Sukey-take-it-off-again 
enter at left.] 

Bo-peep: Was there any water left in the tea¬ 
kettle, Sukey-take-it-off-a gain ? 

Sukey-take-it-off-again : Hello! Not a drop, 
Bo-peep. 

Polly-put-the-kettle-on : We had so much com¬ 
pany and everybody took two cups of tea and Mis¬ 
tress Sprat took three. 

Sukey-take-it-off-again : But why do you want 
to know, Bo-peep? What do you want some water 
for? 

Bo-peep: To put Nanny Etticoat out. 


MOTHER GOOSE DRAMATIZED 


117 


All [pointing] : 

Nanny Etticoat 
In a white petticoat 
And a red nose; 

The longer she lives, 

The shorter she grows! 

[Nanny Etticoat slips down to her Jcnees in her 
candlestick.] 

Polly-put-the-kettle-on: My, oh, me! I wish 
Mistress Sprat had not asked for the third cup! 

[Haymakers enter at right.] 

Sukey-take-it-off-again [pointing] : There come 
the Haymakers on their way home from the meadow. 

[All run to meet the Haymakers.] 

Polly-put-the-kettle-on [ahead] : Oh, Mister 
Haymaker, let us take your bucket a minute, won’t 
you? 

Haymakers : What for ? 

Polly-put-the-kettle-on : To put Nanny Etti¬ 
coat out. 

All [ pointing ] : 

Nanny Etticoat 
In a white petticoat 
And a red nose; 

The longer she lives, 

The shorter she grows! 

[Nanny Etticoat makes herself a little shorter.] 

Haymaker [with bucket] : Shucks now, we were 
that thirsty we drunk up all the water the old woman, 
who couldn’t nohow get her pig she’d bought for a 
crooked shilling to go over the stile and was affeared 
she wasn’t going to get home come night, brung 
us from the stream for a wisp of hay to give the cow 
for a saucer of milk to give the cat to kill the rat 
to gnaw the rope to hang the butcher to kill the ox 


118 


MOTHER GOOSE DRAMATIZED 


to drink the water to quench the fire to burn the stick 
to beat the dog to bite master Piggy to get over the 
stile to get home come night! See! The bucket’s 
empty! [He tips the bucket up to show them. The 
Haymakers go on and out at left.] 

Polly-put-the-kettle-on : It wouldn’t do any 
good to ask Cross-patch for her cup of tea and let 
it cool, would it? 

Sukey -TAKE-iT-OFF- again [shaking her head ] : No! 

Cross-patch 
Draws the latch, 

Sits by the fire to spin; 

Takes a cup 
And drinks it up, 

Then calls her neighbors in! 

[The Old-woman-who-lived-in-a-shoe puts her head 
in at right.] 

Old-woman-who-lived-in-a-shoe [raising and hold¬ 
ing her voice on the last syllable of each name, as 
mothers call their children home]: E-eb! An-nie! 
Mary ’Liz’be-eth! Samue-el! John-ny! Mirandy-y! 
Calista Babe-ette! Lester Lero-oy! Em-my! Ti-dy! 
William Rando-olph! Po-sy! [She comes in a few 
steps.] Where in creation did them young ones go 
to with their bowls o’ broth? I told them they might 
eat it out on the toe, but they ain’t there now! 
They ’ll catch it! E-eb! Ti-dy! Po-sy! Mary ’Liz— 

[Her children, troop in at left.] 

Eb: I’m coming, ma! 

Some of the others: Here we are, ma! We’re 
coming! 

Old-woman-who-lived-in-a-shoe : Time you were! 
Where you been? 

Two OR THREE OF HER CHILDREN: Just down 

Mother Goose Street a piece, ma. 


MOTHER GOOSE DRAMATIZED 


119 


Old- woman-who-livedmn-a-shoe [grasping the boy 
nearest by his collar , hand upraised to whip him] : 
Didn’t I tell you to stay around the shoe? 

Sukey-take-it-off-again : Oh, Mistress Old-woman- 
who-lived-in-a-shoe, please won’t you wait a bit? 
Don’t whip your children just yet! 

Old- woman-who-lived-in-a-shoe : Why not? 

Sukey-take-it-off-again : Let us look in their 
bowls first, please. 

Old~woman-who-livei>in-a-shoe : What for ? 

Sukey-take-it-off-again : To see if there is any 
broth left in them to put Nanny Etticoat out. 

Boy Blue, Curly Locks, etc. [pointing] : 

Nanny Etticoat 
In a white petticoat 
And a red nose; 

The longer she lives, 

The shorter she grows! 

[Nanny Etticoat slips down a little .] 

Polly-put-the-kettle-on : Oh, say we may have 
the broth left in Posy’s and Tidy’s and Calista 
Babette’s and all the others’ bowls, Mistress Old- 
woman-who-lived-in-a-shoe ! 

Tommy Tucker: Say yes, say yes, Mistress Old- 
woman-who-lived-in-a-shoe! 

Old-woman-who-lived-in-a-shoe : Yes! Yes! 

If there’s any left in them! 

Her Children [tipping up their bowls] : We 
didn’t leave a drop, Polly-put-the-kettle-on! 

Lester Leroy : Not a single, solitary drop! 

Emmy : Not one! 

Tidy: We were so hungry! 


120 


MOTHER GOOSE DRAMATIZED 


William Randolph: Ma gave us our broth with¬ 
out any bread! 

Posy: Why, we even licked our bowls out, we 
were so famished! 

Tommy Tucker [breaking his bread into three or 
four pieces and distributing the bits among the chil¬ 
dren nearest him, who snatch at them and eat them 
with smacking lips ] : Have some white bread and 
butter, Posy! Have a piece, Mary ’Liz’beth! Here, 
J ohnny! 

Peter, Peter : White bread and butter! Ho, ho! 
Have some pumpkin pie, Sam! [He gives his pie to 
Samuel, who bolts it down greedily.] 

Lester Leroy [snatching the last bite out of 
Samuel’s hand] : Sam, let me have a bite! 

Old-woman-who-lived-in-a-shoe : Posy! Ain’t 
you ashamed o’ yourself? I’m surprised at the lot 
o’ you! Great boys and girls like you! Go to bed 
with you! 

[She soundly whips the one she is holding by the 
collar and pushes him out at right. Then she seizes 
the next, whips him, and shoves him out. Some begin 
to cry. All her children go out pell-mell at right, 
the Old-woman-who-lived-in-a-shoe whipping left and 
right. Simple Simon gets knocked off his stone and 
his pail is overturned. When the Old-woman-who- 
lived-in-a-shoe has disappeared behind her children, 
he picks himself up and Curly Locks runs to right 
his pail for him.] 

Curly Locks [almost crying] : Oh, poor Lester 
Leroy and Annie, and Johnny, and all the rest of 
them! 

Peter, Peter: Caught your whale yet, Simple 
Simon ? 

Simple Simon: I’m not done fishing yet. 


MOTHER GOOSE DRAMATIZED 


121 


Curly Locks: Don’t yon mind Peter, Peter, Sim¬ 
ple Simon. Here’s your fishpole. 

[Simple Simon takes his gad and falls to fishing 
again. Jack and Jill enter at left. Jack has his head 
in brown paper and one toe tied in a rag. Jill has 
two fingers in rags and one toe.] 

Polly-put-the-kettle-on [running ahead of the 
others to meet Jack and Jill] : Hello, Jack! Hello, 
Jill! What is the matter? 

Boy Blue: 

Jack and Jill 
Went up the hill 
To fetch a pail of water. 

Tommy Tucker: To put Nanny Etticoat out. 

Jill : 

Jack fell down 
And broke his crown, 

And I came tumbling after 1 

Jack: 

Then up I got 
And home did trot 
As fast as I could caper; 

I went to bed 
To mend my head 
In vinegar and brown paper. 

Polly Flinders: How are j^ou now Jack? How 
are you, Jill? 

Jack and Jill: Oh, we’re better, lots. 

Jill: Jack doesn’t have to stay in bed to mend 
his head any more. 

Jack: Is Nanny Etticoat still growing shorter 
and shorter? 

[The children nod sorrowfully, turning to look at 
Nanny Etticoat. She slips down a little lower. Curly 
Locks bursts into tears. Mary, Mary enters at right.] 


122 


MOTHER GOOSE DRAMATIZED 


Bo-peep [pointing]: There’s Mary, Mary! 

Peter, Peter: Where are you going, my pretty 
maid f 

Mary, Mary : Not a-milking, sir, but to water my 
garden. 

Jill: 

Mary, Mary, 

Quite contrary, 

How does your garden grow? 

With cockle-shells, 

And silver bells, 

And pretty maids all in a row. 

Mary, Mary: Oh, nicely, thank you. 

Boy Blue: Perhaps it wouldn’t mind going with¬ 
out watering this one evening then! 

Curly Locks: Oh, do say it wouldn’t mind just 
this one evening, Mary, Mary! 

Mary, Mary: Of course it would mind! The sun 
has been so hot all day. 

[Simple Simon, meanwhile, has left his rod in his 
' pail and come up near the group around Mary, Mary. 
At no time does he join the others; he always stands 
apart, looking on .] 

Simple Simon [holding up his hand] : I felt a 
drop! 

Jack: It’s raining, Mary, Mary! You won’t need 
to water your garden now! 

Mary, Mary [looking up] : Pooh ! The sun is out! 

A sunshiny shower 
Won’t last half an hour! 

[Harry puts his head in at left.] 

Harry : 

Rain, rain, 

Go away, 

Little Harry 
Wants to play! 


MOTHER GOOSE DRAMATIZED 123 

Peter, Peter: Come on out, Harry! You won’t 
get your feet wet! The rain’s over. It rained only 
two drops, anyway! 

[Harry comes in. Mary, Mary goes on. Then she 
stops and turns.] 

Mary, Mary : Why don’t you want me to water 
my garden just this one evening, Boy Blue? 

Boy Blue: We -want to put Nanny Etticoat out 
with your sprinkling can. 

All [but Harry] : 

Nanny Etticoat 
In a white petticoat 
And a red nose; 

The longer she lives, 

The shorter she grows! 

[Nanny Etticoat slips down an little lower in her 
candlestick.] 

Mary, Mary : My cockle-shells would fade and my 
silver bells would wilt and my pretty maids all in 
a row Would droop their heads. [She goes on, but 
calls back just as she goes out at left.] Why don’t 
you blow Nanny Etticoat out? 

[The children clap their hands and jump up and 
down. Then all but Simple Simon and Harry form 
a ring around Nanny Etticoat and each, in turn, 
blows, each puffing his cheeks out bigger than the last 
as each fails to blow her out.] 

Harry: All together! One, two, three, blow! 

[All together blow as hard as they can, but in vain. 
Nanny Etticoat drops to sitting position.] 

Harry: One, two, three, again! 

[All blow again in vain. They drop exhausted to 
their knees on the floor. Jack-be-nimble tumbles in 
at right with a handspring or a somersault, knock¬ 
ing Simple Simon over.] 


124 


MOTHER GOOSE DRAMATIZED 



Jack-be-nimble [landing on his feet 1 : What’s 

up? 

The Children in the Ring [the hoys pointing, 
the girls crying] : 

Nanny Etticoat 
In a white petticoat 
And a red nose; 

The longer she lives, 

The shorter she grows! 

[Nanny Etticoat drops her head down into her 
lap.] 




MOTHER GOOSE DRAMATIZED 


125 


Simple Simon [picking himself up and running 
excitedly up to Jack-be-nimble] : 

Jack, be nimble! 

Jack, be quick! 

Jack, jump over 
The candlestick! 

[Jack-be-nimble runs and jumps so close to Nanny 
Etticoat that he appears to jump over her, plucking 
the flame out of her cap as he jumps and hiding it 
quickly in his pocket. Nanny Etticoat lifts up her 
head. Simple Simon watches till Nanny Etticoat 
raises her head, then he returns to his fishing.] 

All [including Harry, singing and dancing about 
Nanny Etticoat] : Hooray for Simple Simon! 

King around our Nanny, 

Better loved than any; 

Make gay with laugh and shout 
•For Jack-be-nimble put her out! 

Now our pretty Nanny 
Will light us nights a-many; 

A while she’ll burn her wick 

And then we’ll call for Jack-be-quick. 


Curtain 


Children’s Dialogs and Plays 

CROWNING THE MAY QUEEN. A delightful May Day play. Children go May¬ 
ing, crown a queen, wind Maypole, encounter gypsy, etc. Great excitement. 35c. 

THE DOLL’S SYMPOSIUM. Toy Shop at night. Dolls and toys have great frolic. 
Spicy dialog. Fancy drills and specialties introduced. Clever. 35c. 

THE DOLLY SHOW. The dearest little “baby show” ever. Each little girl dis¬ 
plays her dolly to best advantage to wise little judge; in cute rhyme; easy. 25c. 

FAVORITE DRAMATIZATIONS. Contains “Red Riding Hood,” “The Three 
Bears,” “The Hare with Many Friends,” “The Wonderful Piper,” and “The 
Tumpkin Tree.” All very desirable and easily produced by primary pupils. 35c. 

A GOOSE AND SOME GEESE. A jolly little Mother Goose play with a very 
pointed climax. No itothersome scenery or properties required. Very amusing. 25c. 

THE HOLIDAYS’ CARNIVAL. St. Valentine’s Day, April Fools’, Easter, Hal¬ 
lowe’en. Christmas and other holidays represented by children. March, songs. 25c. 

THE KNICKERBOCKERS AT SCHOOL. A “Dutch” burlesque. Very comic 
presentation of old-fashioned Dutch school and customs. Quaint and funny. 35c. 

LIGIITHEART. Allegorical play in two acts. 7 m., 12 or more f. Boy, assisted 
by Work, Courage and W’isdom, travels to City of Success, is beset by Folly, 
rescued by Lightheart, bravest of Fairy Band, finally meets Love. 35c. 

ORIGINAL DIALOGS FOR ANY TIME. Splendid collection of witty, spicy, 
lively dialogs. We guarantee their excellence. Primary and Intermediate. 35c. 

PAT AND HIS COUNTRYMEN. Brisk dialog abounding with Irish wit, for gram¬ 
mar or high school. Splendid for St. Patrick’s Day. Instructive. 2 m. 25c. 

PETITE PLAYS. Collection of the spiciest comic dialogs, comedies and farces, by 
best American authors. Short, strong, witty; not difficult. 2 to 6 parts. 40c. 

PUPPET PLAYS FOR SPECIAL DAYS, Contains ten Puppet plays arranged fcr 
all the holidays and special days of the school year. Very easily produced. 40c. 

ROYALTY IN OLD VIRGINIA. Historical play portraying thrilling events in life 
of Powhatan, Pocahontas and Capt. John Smith. Grammar or high school. 35c. 

SCHOOL PLAYS FOR FESTIVE DAYS. Over a score of the richest, spiciest 
dialogs for all grades. Every one a winner. Bright and instructive. 40c. 

YANKEE DOODLE’S TRIP TO DIXIE. A Revolutionary adventure. Full of 
patriotism. For grammar grades. 3 scenes. 6 m., 6 f. 30 minutes. 25c. 

Good English Week Entertainments 

GOOD ENGLISH PROGRAM. An up-to-date program to be used in celebrating 
Good English Week. In two parts, a bright, snappy minstrel and a mock trial 
of Bad Speech. 1% hours. 25c. 

THE DOWNFALL OF POOR SPEECH. The Queen of the English Language 
with her ladies-in-waiting, assisted by gallant courtiers, wage war and defeat 
Poor Speech and his outlaws. A very desirable production. 25c. 

Plays for High School and Adults 

AL MARTIN’S COUNTRY’ STORE. Unsurpassed for merriment. Country store’s 
customers, loafers, gossipers, lovers, etc. Splendid climax. . Loads of fun. 35c. 

AND THE LAMP WENT OCT. A screamingly funny pantomimic performance. 
Clever beyond description. 2 males, 2 females, and reader. 35c. 

CABBAGE HILL SCHOOL. Humorous play for children or young people. New 
“skewl-marm” on opening day. Capricious pupils, august visitors, etc. 35c. 

CATCHING CLARA. An up-to-date commencement play. Great excitement, thrill¬ 
ing time, lots of fun. 3 scenes, 10 males, 15 females, or more. 40c. 

THE CHARITY PUPIL. Boarding school episode, lively with vivacious pranks 
and exciting times. Strong plot with happy climax. Splendid class play. 35c. 

A CORNER IN HEARTS. A clever and amusing little parlor play. All lovers 
propose to the same girl. Rich humor. Pleasing situations. 4 m., 1 f! or 5 m. 25c. 

THE CRIMSON AND THE BLUE. 6 m., 6 f. Highest type commencement play. 
Brilliant success. Acting rights free to purchaser of 12 copies. 40c. 

CUPID’S JOKE. Charming little drama in which Cupid gets “busy.” Splendid for 
St. Valentine’s Day or any social occasion. 5 m., 5 f. and Cupid. % hr. 25c. 

A DAY AT HAPPY HOLLOW SCHOOL. New play of the “Deestrick Skule” 
type. Full of wit and clever drollery. City auto party vs. rural youngsters. 35c. 

A DICKENS REVIVAL. An elaborate play introducing 40 Dickens characters. 
Very clever plot which gathers interest and culminates in pleasing climax. 35c. 

THE DISPELLING OF BIG JIM. Negro farce. Big Jim is tried by officials of 
Big Bethel Church for misdemeanor. Great excitement. Darky humor. 8 m. 25c. 

THE GOLDEN GOBLET. Exceedingly clever farce with female cast, for Bachelor 

_Girls’ and Women’s Clubs, etc. Uproariously funny. 12 females. 1 hour. 40c. 

THE HEIR OF MT. VERNON. Colonial Society play. Washington’s sterling 
manhood and rare courtesy portrayed. Old plantation melodies, etc. 8 m., 8 f. 35c. 

(a) 


Plays for High School and Adults 

\ ' 

HER SUPERIOR INTELLIGENCE. A comedy; one of the cleverest bits of re- 
freshing humor ever conceived. 2 m., 1 f. One scene. 40 minutes. 35c. 

HIAWATHA DRAMATIZED. High-grade drama arranged from Longfellow's 
masterpiece; vivid dramatic scenes. Contains description of costumes, Indian 
music, and other details necessary. Time, 1 hour. 35c. 

HOW SIIE MANAGED IT. A bewitching young lady resorts to a very plausible 
plot for securing a proposal and succeeds. Ideal parlor play. Clever. 1 m. t 1 f. 25c. 

IN THE WAKE OF PAI L REVERE. Exciting incidents of revolutionary days 
woven into a charming play. Makes life in the old days real. Delightful. 35c. 

JOY OF THE L. V. Thrilling Wild West play. Clever and humorous; depleting 
cowboys in love, jealousy and intrigue. Very meritorious. 10 m., 2 f. 35c. 

A LITTLE HEROINE OF THE REVOLUTION. Brave little girl with clever 
tact deceives British and passes their lines with message to General Marion. 35c. 

THE LOST VILLAGE. An eighteenth and twentieth century contrast. Inhabi¬ 
tants still live as did their I’uritan ancestors. When Prudence returns a full- 
fledged twentieth century girl, things happen. 10 m., 5 f. 30 rain. 25c. 

LOVERS OF ALL AGES. Unique novelty for high schools, colleges, clubs, etc. 
Beautiful presentation of famous lovers of all times. 1 m.. 18 f. and Cupid. 35c. 

MARRIED TO A SUFFRAGETTE. Robbs is left to 'tend the baby. Baby dis¬ 
appears. Reward offered. Babies returned by the dozen. Rare fun. 25c. 

THE MASONIC RING. Society play of excellent literary merit, spicy and clever. 
A succession of provokingly funny climaxes. Splendid for any time. 40c. 

MOTHER GOOSE BAZAAR. Money-making specialty. Jolly folk from "Goose- 
land” do cute stunts, sing catchy rhymes, selling their wares, etc. 25c. 

OLD COLONY DAYS. New dramatization of the Courtship of Miles Standish, 
reproducing story in language of the poem. 3 m., 1 f., or more. 1 ¥j hrs. 35c. 

A PLAIE FOR MERRIE MAY TYME. Adaptation of old English Maypole game 
and folk dance, with music of period. 14 females. 35 minutes. 25c. 

PUPPET PLAYS FOR SPECIAL DAYS. Contains ten puppet plays arranged for 
all the holidays and special days of the school year. Very easily produced. 40c. 

THE RUMMAGE SALE AT HICKORY HOLLOW. One of those little satires 
that provokes the merriest humor. Rare old treasures "sacriGced.” 25c. 

THE SALOON MUST GO. An engaging but powerful anti-saloon play. Splendid 
for campaign. A Iximbardment of hot shot, song and story. 25c. 

SHAKESPEARE UP-TO-DATE. A nonsense play in which well-known Shake¬ 
spearean characters face present-day problems. 6 females. 30 minutes. 35c. 

TWO MERRY WAGERS. Society play for adults. 1 m., 3 f. Plot interesting, 
style excellent. Good opportunity for Irish female. Plays about 30 miuutes. 
One scene. 25c. 

Ur-TO-DATE AMERICA or THE SWEET GIRL GRADUATE’S DREAM. 

Unique, humorous, surprising climax. 10 m., 10 f., or more. IV 2 hours. 35c. 

VERA’S VACATION. Nothing so delightful as this absorbing “story” of a vaca¬ 
tion with summer boarders. Eccentric characters. Rich fun. 4 m., 5 f. 35c. 

THE WAIF’S THANKSGIVING. Play. Appreciation of wealthy lady shown 
waif, leads to recovery of her little kidnapped son. Charming. 5 m., 4 f. 35c. 

WHEN PAW-PAW COUNTY WENT DRY. Thrilling drama of action. Ban¬ 
ners, processions, songs, argument, love. Exciting plot. Loads of fun. 35c. 

A WOMAN’S PRIVILEGE. Three-act play suitable for high school. Foolish 
fads and fancies of present-day styles; democracy in dress wins. A presentation 
of a needed reform. 3 males, 8 females. 35e. 

WOOING JANE. A bright and vivacious parlor scene. Thurston’s train leaves In 
half hour. His proposal to Jane is provokingly interrupted, but he succeeds. 25c. 


Operettas 

THE BELLES OF FOL-DE-ROL. An operetta for adults. Written for vofees 
of medium range throughout. Text and musical setting are most excellent; high- 
class production. 8 males, 7 females; chorus if desired. 50c. 

THE FLOWER NYMPHS’ SLTRPRISE. Spectacular operetta. Music brilliant 
and captivating. Charming production. Good for last day. 8 m., 8 f. 35c. 

JACK FROST’S MISTAKE. Clever operetta. Jack and Sprites "wake up” Santa, 
mistaking Thanksgiving for Christmas; brisk and jolly; 3 or more boys. 35c, 

QUEEN OF THE YEAR. Winter cantata for schools. Any number of boys and 
girls. Music simple, but unusually pleasing. 25c. 

THE RUN-A-WAY BEAR. Full of spicy fun. Music ctp’.nty and exceptionally 
prettv. Introduces "Teddy Bear Parade.” etc. Very clever. 50c. 

IHE TOYS’ REBELLION. Unique operetta. Dolls and toys refuse to leave Toy* 
laud. Santa happily adjusts matters. Bright and pleasing. 40c, 

(b) 


Famous Funny Farces 

jTITE FOR 25 CENTS. NOT LESS THAN FIVE SOLD 

AUNT JANE VISITS SCHOOL. By Jeannette Joyce. Any number of males and 

i females. Aunt Jane spends a morning in a modern school. A roaring farce. 

AUNT JERrSIIA AND UNCLE JOSII. By Effle Louise Koogle. 1 male, 2 
females. These eccentric folks visit the school, producing no end of fun. 

AUNT LUCINDA STAYS. By Willis N. Bugbee. 2 males. 2 females. Two darky 
characters make lots of fun. Clever and clean. 

“BEAT IT!*' By Willis N. Bn at ice. 3 males, 1 female. A scolding wife makes 
trouble for everybody, the par.-on included. Oceans of fun. 

BETTY AND BETSY'. By Willis N. Bugl>ee. 2 males. 2 females. Betsy was 
advertised for sale, hut he wauled Betty. Bright and pretty. 

THE Bl tiTOWN BAND. By Archibald Ilumboldt. 4 males, 1 female. More 
fun than you can imagine, and a little music which anybody can make. 

THE BUZZVILLE NEWS. By Eflle Louise Koogle. 2 males, 1 female. A breezy 
conversation between the manager and new editor. A sure hit. 

DOT ENTERTAINS. By Elizabeth F. Guptill. 1 male, 1 female. Dot entertains 
her big sister’s beau, and the things she tells him are a plenty. A big success. 

THE GOOSE FEATHERBED. By Willis N. Bugbee. 4 males, 1 female. A 
dandy little play for Irish and eccentric characters. Easy and amusing. 

HASTE MAKES WASTE. By Harriette Wilbur. 3 males. Young drug clerk 
grabs the wrong bottle, and learns that haste makes waste. 

IN A DOCTOR’S OFFICE. By Jeannette Joyce. 4 males, G females. A laugh- 

, able take-off on the specialist of today, in which some of the follies of humanity 
are exposed. 

LAUGHTER AND SONG. By Archibald Humboldt. 3 males, 4 females. Cemlc 
dialog interspersed with jolly songs, tuakiug a continuous fuuuy story. 

LOOK OUT FOR IIEZEKIAII. By Louise R. Bnseom. 3 males, 1 female. Hay¬ 
seed parents visit college dean. Splendid opportunity for clever acting. 

THE LUNATIC OR THE PROFESSOR. By Louise R. Ba«eom. 2 males, 2 
females. Lunatic mistaken for brain specialist; hard on the lunatic. Great. 

MORE TIME OUT. By Carolyn F. Rice. 7 females. An amusing comedy dealing 
with the servaut problem. The characters are strongly contrasted. Effective. 

NO PEDDLERS ADMITTED. By Jeannette Joyce. 2 males, 1 female. The 
busy man intended not to buy, but the peddler had a suave manner. 

A PROPOSAL IN GRANDMA’S DAY. By Jeannette Joyce. 2 males, 2 fe¬ 
males. Full of fun. 

“Oil, YOU TEACHER!” Bv C. A. Donaldson. 8 males, 4 females. A splendid 
comedy of school life, showiug the amateur teacher’s trials. Suited for schools. 

ONE ON THE AGENT. By Louise Rand Bnseom. 1 male. 1 female. A clever 
skit, bright with telling repartee. Recommended for all occasions. 

THE “PHYSICAL TORTURE” CLUB. By W. N. Bugbee. 2 ra.. 2 f. Thysical 
culture exercises for which Ma is too stout and Pa is too rheumatic; funny. 

RASTUS BLINK’S MTNSTRELS. Bv E. L. Koogle. For any number. His 
“Kinky Koous” are killing; jolliest minstrel show ever; deluge of drollery. 

“SCAT!” By Louise Rand Bnscora. 1 male. 1 female. Cunning attempt of an 
old maid to prove her youth. Very laughable. 

SEEING THE ANIMALS. By Clara J. Denton. 1 male, 2 females. A swell 
hotel clerk, a suffragette and a spoiled child make a lively time. A hit. 

THE SQUASHVILLE FIRE BRIGADE. By W. N. Bugbee. 3 males. 2 females, 
and other tiremeu, if desired; bright and snappy; easy and clever. 

THE STUPID WITNESS. By Archibald Humboldt. 3 males. The lawyer and 
witness lock horns and have an awful time, but it’s fun for the audience. 
Swift and keen. 

THE TRAIN LEAVES IN TEN MINUTES. By L. R. Ba^eora. 1 male. 2 
females. Will they catch the train? The suspense is punctured by fun and wit. 

THE TRAIN TO MORROW 7 . By Jeannette Joyce. 2 males, 2 females. Con¬ 
fusion in a railway station. Strikingly funny. 

THE TRAVELING PHOTOGRAPHER. By Kate Alice White. 3 males. 2 
females. He unexpectedly visits a farmer’s family. All work Is stopped and 
they pose lor the picture. 

AN UP-TO-DATE PROPOSAL. Bv Jeannette Joyce. 2 males, 2 females. 
Will keep the audience interested every minute. Effective when used with 
“A Proposal in Grandma’s Day.” but each complete iu itself. 

WANTED: A LICENSE TO W’ED. By Elizabeth F. Guptill. 2 males, I female. 
Humorous situation resulting from a misunderstanding. Irish dialect. 

(C) 


Drills and Marches 

THE COMPLETE DRILL BOOK. Contains seventeen drills suitable for all occa¬ 
sions, including a tambourine drill, sword drill and the Virginia Reel. 40c. 

A GUN DRILL. An up-to-the-minute drill for sixteen or any number of boys and 
a drill master. Gives drill formation and manual of arms. 25c. 

LITTLE GRANDMOTHERS’ MARCH AND DRILL. Cute little drill and exer¬ 
cise with candlesticks, teacups and knitting. Delightful. 8 or 12 females. 25c. 
MARCH’S MARCH FOR DRILLS AND MARCHES. Appropriate music to be 
played while drills and marches are being executed. Marks time perfectly. Is 
easy. 35c. 

ROSE MARCH AND DRILL. A beautiful spectacular entertainment. Costumes 
easy to provide, but charming. Easy to learn. Strikingly effective. 25c. 
SPEAR DRILL. Very easy entertainment to arrange. Costumes are simple, move¬ 
ments not intricate. Suitable for small girls. Very pretty. 16 girls. 25c. 
SUNFLOWER MARCH. Very amusing. Costumes alike front and back. Move¬ 
ments provoke much merriment. Full directions and diagrams. 16 boys. 25c. 

The Ideal Series 

SELECT READINGS AND RECITATIONS 
Price, 25 cents each, postpaid 

No. 1. Including pieces heroic, pathetic, dramatic and patriotic; for adults. Sev¬ 
eral selections by James Whitcomb Riley. 

No. 2. Contains James Whitcomb Riley’s “The Elf Child” and 50 other successful 
selections. A splendid collection for young people. 

No. 3. Almost a hundred entertaining selections for little children from 5 to 10 
years. Spicy and clever. 

No. 4. Thirty of the choicest Christmas selections, including two by James Whit¬ 
comb Riley. Suitable for the grades. 

No. 5. Contains “Jim” and “Griggsby’s Station,” by James Whitcomb Riley, and 
other humorous and dialect readings. 

No. 6. These recitations are really comic without being coarse. Many are new. 
All are good. 

No. 7. A large number of dialogs for from 2 to 6 children. All suited for the 
schoolroom. Sensible and interesting. 

No. 8. Contains a poem by Riley and 25 standard readings, some of them quite 
long. Excellent for elocutionists. 

No. 9. Favorite Poems by James Whitcomb Riley and other famous contributors. 
An ideal collection for young people. 

No. 10. Excellent selections from the best sources for the whole chain of holidays. 
For older pupils. 

No. 11. Over 40 brief schoolroom dialogs for little people. Interesting, instructive 
and amusing. For 2, 3 or 4 characters. 

No. 12. A generous collection of the choicest Christmas recitations. For the 

orr»Q floQ 

No. 13. * Contains readings from Riley, Prentice, B. F. Taylor, Lee Harris and 
other noted writers. For adults. 

No. 14. More than four-score captivating little recitations for children 5 to 10 
years. A famous collection. 

No. 15. For children from 5 to 10 years. Delightful little dialogs that will appeal 

to the children and please the audience. _ 

No 16. The choicest humorous and dialect selections by James Whitcomb Riley, 
Ben King, Mark Twain, Frank L. Stanton, Mr. Dooley and others of the highest 
class. Rich. 

The Century Series 

READINGS, RECITATIONS AND DIALOGS 

Cloth bound, Price 60 cents each, postpaid 

Each volume is composed of three numbers of the Ideal Series, which provide 
the most acceptable material for entertainments. In every volume will be found 
many pieces of exceptional merit, from the very best authors. Including a large 
number from James Whitcomb Riley. The selections are unsurpassed in freshness 
and desirability. The set comprises a library of good literature unexcelled. Hand¬ 
somely bound in cloth, 12mo., about 250 pages in each volume. 

No. 1. For Schools and Colleges. 

No. 2. For Christmas and other Holidays. 

No. 3. For Little Children. 

No. 4. For Young People. 


<©) 


ulB KHKt OH OONOKtt.i 



0 038 701 819 0 






